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AN  ESSAY  ON  THE  PORTRAITURE 
OF  THE  AMERICAN  REVO- 
LUTIONARY WAR 


Of  this  book  there  have  been  made  one 
hundred  and  eighty-five  copies  on  hand- 
made paper,  and  fifteen  copies  on  Imperial 
Japan  paper,  the  printing  of  which  was 
completed  in  the  month  of  April,  1896. 


AN 
ESSAY    ON 

THE  PORTRAITURE  OF 
THE  AMERICAN  REV 
OLUTIONARY  WAR 

BEING 

An  Account  of  a  number  of  the  Engraved 
Portraits  connected  therewith,  re- 
markable for  their  rarity  or 
otherwise  interesting 

BY 
WILLIAM  LORING  ANDREWS 

To  which  is  added  an 

APPENDIX 

containing  lists  of  Portraits  of  Revolution- 
ary characters    to  be    found  in  various 
ENGLISH  and  AMERICAN  pub- 
lications of  the   eighteenth  and  the 
early  part  of  the  nineteenth  century 

ILLUSTRATED 

with  reproductions  by  the  Photogravure  Process 
of  twenty  of  the  ORIGINAL  ENGRAVINGS 

NEW    YORK 

Printed  by  Gilliss  Brothers  for  the  Author 

and  sold  by  Dodd,  Mead  &  Co. 

MDCCCXCVI 


79739 


Copyright,  1896 
By  WILLIAM  LORINC  ANDREWS 


E 
2,09 

A  3 


PROEM 


PROEM 

FOR  many  years,  so  many,  in  fact,  that  I 
no  longer  go  out  of  my  way  to  reckon 
them,  I  have  had  a  fondness  for  old  prints, 
especially  for  those  which  illustrate  American 
History.  This  essay  is  the  outcome  of  this 
mania  which  has  led  me  to  devote  a  portion 
of  my  leisure  time  during  the  past  winter  to  an 
examination  of  engravings  in  my  own  posses- 
sion and  others  to  which  I  have  had  access, 
which  relate  particularly  to  the  Portraiture 
of  the  Revolutionary  War. 

A  lover  and  collector  of  books  of  wide  expe- 
rience, to  whom  I  confided  my  intention  to 
print  the  results  of  these  inquiries,  stamped 
the  project  with  his  approval,  but  suggested 
that  the  article  should  be  extended  so  as  to  in- 
clude "Views  "  which  illustrate  or  profess  to 


PROEM 

illustrate  incidents  in  Revolutionary  history. 
Upon  the  taste  and  judgment  in  matters  bibli- 
ographical of  this  friend  and  mentor  of  mine  I 
place  great  reliance,  but  in  this  instance  I 
rejected  his  advice.  True,  before  me  lay  in 
all  the  glory  of  its  Marshall  frontispiece  that 
multum  in parvo,  "Abbott's  Briefe  Description 
of  the  Whole  World,"  a  book  which,  despite 
its  weighty  title,  every  collector  of  early  Eng- 
lish literature  knows  can  be  carried  off  hidden 
in  one's  waistcoat  pocket.  Inspiring  as  was 
the  sight  of  this  little  duodecimo,  I  recoiled 
from  an  attempt  to  follow  in  the  wake  of  a 
Primate  of  all  England,  and  deemed  it  the 
part  of  prudence  to  confine  this  present  cruise 
to  the  narrow  placid  waters  of  one  of  the 
sheltered  bays  which,  to  the  great  comfort  of 
inexperienced  navigators  like  myself,  here  and 
there  indent  the  shores  of  the  vast  and  tumult- 
uous sea  of  human  knowledge. 

A  book  upon  the  subject  I  have  chosen  calls 
for  pictorial  treatment,  and  in  my  selection  of 
prints  wherewith  to  adorn  my  text  I  have 
been  guided  largely  by  the  rarity  or  beauty  of 
the  engravings.  Fortunately,  both  these  qual- 


PROEM 

ities  are  frequently  found  combined  in  one  and 
the  same  print,  so  that  this  portion  of  my  task 
has  not  been  attended  with  difficulty. 

I  am  obliged  here  to  confess  that,  gray- 
headed  collector  as  I  am,  there  are  Revolution- 
ary portraits  still  known  to  me  only  by  repute, 
and  as  to  which  I  have  only  hearsay  evidence 
to  offer  in  these  pages.  Among  these  prints 
are  several  curious  ones,  that  I  greatly  desired 
to  secure  for  purposes  of  reproduction,  but  was 
unable  to  obtain.  Still,  I  venture  to  believe 
that  the  group  of  twenty  pictures  which,  by 
means  of  forced  levies  upon  the  treasures  of 
friends  and  acquaintances,  I  have  succeeded  in 
forming,  will  prove  fairly  illustrative  of  the  text 
they  accompany,  and  materially  assist  in  the 
elucidation  of  the  subject. 

I  do  not  claim  that  the  list  of  portraits  con- 
tained in  various  Magazines  catalogued  in  the 
Appendix  are  in  all  cases  complete.  I  have 
tabulated  the  prints  I  found  in  the  particular 
copies  of  these  periodicals  that  I  have  been 
able  to  consult,  but  it  is  quite  impossible  to 
vouch  for  the  perfect  condition  of  all  old  Mag- 
azines, no  matter  how  high  may  be  the  stand- 


PROEM 

ing  of  the  Public  or  Private  Library  of  which 
they  form  a  part. 

In  conclusion,  I  beg  to  acknowledge  my  in- 
debtedness to  all  those  who  by  word  or  deed 
have  kindly  aided  and  abetted  me  in  this  effort 
to  throw  a  few  additional  gleams  of  light  upon 
a  topic  of  interest,  not  only  to  the  American 
Bibliophile  and  print  collector,  but  to  every 
patriotic  citizen  of  this  Republic. 

WILLIAM  LORING  ANDREWS. 


LIST   OF   PLATES 

WITH    SIZES    OF    THE    ORIGINAL 
ENGRAVINGS 


WASHINGTON,  by  Chas.  W.  Peale,  12  x  9^  Title 
OFFICERS  OF  THE  BRITISH  ARMY 

in  New  York  .  .  .  12^  x  8^  i 
COL.  BENJAMIN  CHURCH  and  MR. 

C.CHURCHILL  (each)  .  •  3^X3  5 

PHILIP  KING,  of  Mount  Hope  .  6  x  3||  6 

BENJAMIN  FRANKLIN  .  .  3^x2*^  13 

DIEDRICH  KNICKERBOCKER  .  6  x  3^  21 

THE  BOSTON  MASSACRE  .  .  5^x4^5  28 

WASHINGTON,  by  Campbell  .  12^x9^  33 

CHARLES  LEE,  ESQ^  .  .  .  9^  x  7  34 

MARQUIS  DE  LA  FAYETTE  .  .  6^  x  41/6  39 

BROCKHOLST  LIVINGSTON  .  .  5^x4^  44 

WASHINGTON,  by  Savage*  .  .  5*^x4^  48 

LADY  ACKLAND  .  .  .  14x11  51 

LIEUT.-COL.  TARLETON*  .  .  6^  x  4  54 

COLONEL  ARNOLD  .  .  .  13x9^  56 
WASHINGTON,  by  Buxton  .  .  24^  x  21^  58 

JOHN  JAY  ....  12^x8^  60 
MR  SAMUEL  ADAMS  and  the  HON. 

JOHN  HANCOCK,  ESQ.  (each)     .     4^  x  3^  75 

*The  small  engraving. 


AN  ESSAY  ON  THE  PORTRAITURE 
OF  THE  AMERICAN  REVO- 
LUTIONARY WAR 


AN  ESSAY  ON  THE  PORTRAITURE 
OF  THE  AMERICAN  REVOLU- 
TIONARY WAR 


THE  victim  of  that  incurable  malady — a 
love  of  old  prints — who  turns  to  the 
ensuing  pages  with  the  expectation  of  finding 
in  them  a  full,  accurate  and  erudite  account 
of  all  the  portraits  relating  to  the  Revolution- 
ary War  that  it  has  ever  entered  into  the  way- 
ward heart  of  man  to  conceive,  is  doomed  to 
disappointment.  On  the  contrary,  the  author, 
with  malice  prepense,  has  avoided  long  drawn 
out  lists  of  names  and  a  categorical  array  of 
dusty  facts  and  prosy  figures.  For  painstak- 
ing clerical  minutiae  he  frankly  admits  he  has 
little  gusto,  and  is  fully  conscious  of  the  fact 
that  the  patient  inquiring  spirit  of  the  Cen- 
sus-taker forms  no  component  part  of  his 
mental  equipment.  Consequently,  although 
a  select  assortment  of  names  throws  a  seemly 


THE  PORTRAITURE  OF  THE 

air  of  research  over  the  appendix  (to  which 
as  far  as  possible,  unavoidable  details  have 
been  relegated),  the  body  of  our  text  will  be 
found  deficient  in  plain  unvarnished  facts — 
the  dry  bones  which  form  the  skeleton  of  all 
legitimately  constructed  descriptive  writing. 
With  the  distinct  understanding,  therefore,  that 
this  dissertation  is  put  forth  simply  as  a  bird's- 
eye  view  of  the  field  in  which  the  collector  of 
American  Revolutionary  portraits  manoeuvres 
his  forces,  and  not  as  a  military  map  thereof, 
drawn  to  a  scale,  let  us  proceed  to  the  consid- 
eration of  our  subject. 

A  collection  of  contemporary  prints  illus- 
trating the  war  which  left  the  people  of  the 
United  States  a  free  and  independent  nation, 
serves  a  double  purpose.  While  it  supplies  an 
object  lesson  in  the  impressive  chapter  with 
which  the  history  of  the  American  Republic 
opens,  it,  at  the  same  time,  affords  an  oppor- 
tunity for  the  study  of  the  practice  of  the  art 
of  engraving.  The  prints  which  line  the  port- 
folio of  the  patriotic  American  collector  will 
be  found  to  run  the  gamut,  from  the  finished 
work  of  a  master  hand  down  to  the  semi-bar- 
barous production  of  the  veriest  tyro  in  the 
Art.  Prints  of  the  baser  sort — artistically 
speaking — of  course  predominate.  Many  of 


AMERICAN   REVOLUTIONARY  WAR 

the  early  portraits  which  illustrate  this  crucial 
period  of  our  history  are  so  coarse  and  crude 
in  design  and  execution  that  by  means  of 
their  very  grotesqueness  they  exercise  a  cer- 
tain weird  fascination  over  the  collector.  Like 
as  a  mother  bestows  more  than  its  share  of  af- 
fection upon  a  deformed  or  weakly  member  of 
her  little  flock,  so  the  possessor  of  these  un- 
couth, half-finished  graven  effigies  cherishes 
them  more  fondly  for  their  faults  and  frailties. 
Moreover,  a  print  may  be  so  exceedingly  rare 
that  a  second  thought  is  never  given  to  its 
technical  defects.  The  passion  for  the  odd 
and  antique  renders  the  collector  purblind  to 
pictorial  merits  or  demerits,  and  indifferent  to 
captious  criticism  founded  upon  the  lack  of 
artistic  quality  in  the  heterogeneous  assem- 
blage of  old  prints,  which,  with  infinite  pains, 
he  has  gathered  from  the  four  quarters  of  the 
globe. 

In  the  New  York  Magazine,  published  from 
1790  to  1797,  there  is  a  poorly  executed  por- 
trait of  General  Wayne.  It  may  bear  a  remote 
resemblance  to  "  Mad  Anthony,"  or  it  may  be 
an  altogether  apocryphal  portrait.  In  the 
"  National  Portrait  Gallery  of  Distinguished 
Americans," — the  best  and  largest  collection 
of  American  portraits  that  exists — there  is  also 


THE  PORTRAITURE  OF  THE 

a  picture  of  General  Wayne,  well  engraved  by 
Prudhomme,  which  is  an  authentic  portrait  of 
the  Hero  of  Stony  Point,  for  it  is  taken  from 
a  sketch  by  Colonel  Trumbull.  Now  mark 
the  natural  perversity  of  the  collector's  mind. 
The  latter  print  he  may  secure  at  a  trifling 
cost,  for  the  book  which  contains  it  is  still  in 
the  market,  although  it  is  rapidly  disappearing 
before  the  onslaughts  of  the  "  extra  illustrator." 
This  satisfactory  engraving  and  genuine  like- 
ness the  hardened  and  depraved  collector  passes 
by  disdainfully  and  awaits,  with  iwhat  patience 
he  may,  an  opportunity  to  give  in  exchange 
for  the  poorer  print  twenty  times  as  much  good 
coin  of  the  commonwealth. 

A  just  and  reasonable  doubt  as  to  the  authen- 
ticity of  the  fearfully  and  wonderfully  construct- 
ed "  effigies "  he  from  time  to  time  secures 
never  disturbs  for  a  moment  the  stoical  com- 
posure of  the  print  collector.  He  is  perfectly 
prepared  to  admit  that  they  may  be — probably 
are — made  out  of  whole  cloth  ;  filmy,  tangled 
fabrics  woven  from  the  tissue  of  the  artist's 
teeming  brain.  If  it  be  a  rare  view  which  the 
amateur  brings  forth  from  his  cabinet  and  exult- 
ingly  spreads  before  you,  such  incongruities  as 
castellated  buildings,  with  mediaeval  portcullised 
drawbridges  casting  their  sombre  shadows  a- 


AMERICAN   REVOLUTIONARY  WAR 

thwart  the  streets  of  colonial  New  York,  and 
stately  palms  lifting  their  fronded  heads  above 
the  tropical  vegetation  of  its  suburbs,  never 
ruffle  his  complacency  an  iota.  Palpable  evi- 
dences such  as  these  that  the  artist  had  never 
been  within  thousands  of  miles  of  the  scenes  he 
attempted  to  depict,  and  drew  ad  libitum  upon 
his  imagination  for  the  sundry  unrelated  parts 
of  his  composition,  call  forth  no  explanatory 
or  apologetic  remarks,  or  lessen  to  an  appre- 
ciable extent  the  happy  owner's  pride  and  joy 
in  his  possessions. 

We  may  judge  by  the  following  conspicuous 
instance  with  what  facility  portraits  of  our  dis- 
tinguished forbears  have  been  made  to  order 
out  of  hand.  In  an  edition  of  that  author- 
itative narration,  Church's  "  King  Philip's 
War,"  published  at  Newport,  R.  I.,  in  1772, 
there  is  an  alleged  portrait  of  Colonel  Benjamin 
Church,  engraved  by  the  noted  Paul  Revere. 
For  the  sake  of  comparison  we  have  placed  in 
juxtaposition  to  it  a  portrait  of  Mr.  C.  Churchill, 
taken  from  Smollett's  History  of  England, 
1758-65.  The  only  difference  between  the  two 
portraits  that  can  be  detected  is  that  the  en- 
graving is  transposed  and  the  stalwart  Puritan 
captain  has  a  powder-horn  suspended  from  his 
neck.  The  prints  are  of  exactly  the  same  size, 


THE  PORTRAITURE  OF  THE 

and  in  all  other  respects  they  are  identical. 
The  reversed  position  of  the  portrait  may  be 
accepted  as  an  additional  proof  that  one  was 
copied  from  the  other.  Here  seemingly  is 
prima  facie  evidence  that,  there  being  no  true 
portrait  of  Colonel  Church  in  existence,  Mr. 
Churchill  was  pressed  into  service  as  his  sub- 
stitute by  the  ingenious  Captain  Paul  Revere. 
A  modern  engraver  appears  to  have  accepted 
this  print  without  hesitation  as  a  genuine  like- 
ness of  Colonel  Church,  and  carefully  re-en- 
graved it  in  line  on  steel,  thus  giving  still 
wider  currency  and  a  longer  lease  of  life  to  a 
picture  which,  while  the  circumstantial  evidence 
in  the  case  remains  unrefuted,  we  feel  justified 
in  regarding  with  extreme  suspicion. 

This  same  rare  edition  of  Church's  history 
contains  a  portrait  of  "  Philip,  King  of  Mount 
Hope,"  engraved  by  Revere,  which  most  as- 
suredly was  evolved  entirely  from  his  own  inner 
consciousness.  Any  one  who  has  ever  cast  eyes 
upon  this  fantastic  creation  will  at  once  admit 
that  it  reflects  infinite  credit  upon  the  artist's 
inventive  faculties.  If  childhood  could  be 
brought  to  mend  the  error  of  its  ways  through 
fear  of  hobgoblins,  a  judicious  use  of  this  cari- 
cature certainly  would  have  turned  all  the  little 
men  and  maidens  of  New  England  forthwith 

6 


KING    of  Mount  Hope 


AMERICAN   REVOLUTIONARY  WAR 

into  models  of  prim  propriety,  albeit  they  were 
as  irrepressible  as  some  of  their  descendants, 
against  whose  flow  of  animal  spirits  it  was 
deemed  necessary  to  take  the  precautionary 
measure  we  find  announced  in  the  Boston 
Columbian  Centinel  of  Saturday,  February 
22d,  Anno  Domini  1800: 

Columbian  Museum. 
MR.  BOWEN  refpedfully  informs 

the  Public  that  the  Mufeum  will  be  opened  THIS 
DAY,  Feb.  22d  from  3  o'clock  in  the  afternoon  till  eight 
in  the  evening,  with  Solemn  Music  on  the  Organ. 

The  elegant  MONUMENT  erected 

to  the  memory  of  the  late  PRKSIDENT  of  the  United  States 
will  be  illuminated  with  Sixteen  candles  for  this  evening  on- 
ly, in  a  circle  round  the  URN. 

|g~  No  children  will  be  admitted,  as  the  folemnity  of  the 
occafion  requires  as  much  filence  as  possible.  Tickets  as  usual. 

This  picture  of  the  noted  Indian  chief  was 
re-engraved  at  a  later  period,  with  the  full  title 
of  Philip,  alias  Metacomet  of  Pokanoket,  and 
given  to  the  world  hedged  about  with  this  care- 
fully guarded  statement :  "  Engraved  from  the 
original  as  published  by  Church." 

Quite  as  dexterous  a  feat  of  artistic  legerde- 
main as  the  one  which  transformed  the  civilian 
Churchill  into  the  soldier  Church  was  that 
which,  in  the  twinkling  of  an  eye,  turned  Sir 
William  de  la  More  into  General  Washing- 
ton. 


THE  PORTRAITURE  OF  THE 

This  portrait  is  thus  described  by  Mr.  W.  S. 
Baker,  in  his  work,  "  The  Engraved  Portraits 
of  Washington,"  No.  426: 

The  True  Portraiture  of  his  Excellency, 
GEORGE  WASHINGTON,  Eso^, 

IN  THE  ROMAN  DRESS, 

as  ordered  by  Congress  for  the  Monument  to 
be  creeled  in  Philadelphia  to  perpetuate 
to  Posterity  the  man  who  com- 
manded the  American  forces 
through  the  late  glori- 
ous Revolution. 

This  print  is  copied  from  one  of  Sir  Wil- 
liam de  la  More  in  full  coat  of  mail,  which  was 
published  in  Guillim's  Display  of  Heraldry, 
Fifth  Edition,  London,  1679.  For  the  follow- 
ing careful  comparison  of  the  two  prints  I  am 
indebted  to  the  Honorable  James  T.  Mitchell, 
of  Philadelphia : 

WASHINGTON  IN  ROMAN  DRESS.  Copied 
from  plate  of  Sir  William  de  la  More,  but  dif- 
fers in  small  points  throughout. 

WASHINGTON,  plate  mark,  12^  x  7^  inches. 
MORE,  plate  mark,  n  *^j  x  71/6  inches. 
WASHINGTON,  engraved  surface,  9  3-16  x 

inches. 

MORE,  engraved  surface,  9^x7  inches, 
g 


AMERICAN  REVOLUTIONARY  WAR 

Washington  has  no  flag  on  the  staff,  the 
head  is  turned  to  left  and  the  shoulders  slightly 
in  same  direction,  while  in  More  the  head  and 
figure  are  turned  to  right.  The  legs  of  Wash- 
ington are  thinner  and  straighter  than  More's. 
The  shading  of  the  sky  is  different  and  Wash- 
ington has  no  birds  flying,  while  More  has  six. 
The  battle  in  right  background  is  much  less 
finished  than  in  More.  On  main  points,  how- 
ever, the  copy  is  close  throughout. 

As  faithful  presentments  of  the  faces  and 
figures  they  feign  to  portray,  many,  probably 
most  of  these  early  prints  are  of  little  value. 
Of  few  of  them  may  it  be  said  with  truth  that 

"  The  sculptor's  part  is  done,  the  features  hitt." 

This  criticism  applies  with  special  force  to  en- 
gravings in  which  the  eighteenth  century  Teu- 
ton* had  a  hand,  and  with  his  burin  in  rest 
went  cavorting  wildly  amid  sight  and  scenes 
that  he  had  never  met  with  except  in  dreams. 
Quite  as  unreliable  are  the  pieces  put  forth  by 
our  own  engravers  in  those  early  days,  when 
Art  had  few  devotees  among  us,  and  only  a 
dozen  at  the  most  of  self-instructed  carvers 
of  copper  plates,  mostly  recruits,  like  Paul 

*Especially  to  the  enterprising  picture  makers  of  the  town  of 
Augsburg,  in  Bavaria,  noted,  in  the  last  century,  for  the  excellent  trade 
done  in  printing,  engraving  and  bookbinding. 


THE  PORTRAITURE  OF  THE 

Revere,  from  the  ranks  of  the  silversmiths, 
(as  was  the  great  Hogarth,  for  that  matter,) 
worked  merrily  away  with  none  to  molest 
or  make  them  afraid  of  taking  liberties 
with  the  faces  of  their  distinguished  contem- 
poraries. As  time  passed  on,  however,  there 
arose  a  school  of  competent  and  skillful  engrav- 
ers, long  led  by  the  late  Asher  B.  Durand,  ably 
seconded  by  Paradise,  Longacre,  and  Prud- 
homme,  and  for  a  period  lamentably  circum- 
scribed, pure  and  legitimate  steel  and  copper- 
plate engraving  flourished  in  the  land. 

From  the  engravers  in  line,  stipple  and 
mezzotint  of  both  England  and  France  we 
have  had  from  an  early  period  fine  examples 
of  graphic  art  in  prints  which  illustrate  Ameri- 
can history.  Of  the  redoubtable  Captain  John 
Smith,  for  example,  there  is  an  engraving,  as 
fine  as  it  is  rare,  by  Simon  de  Passe,  which  is  a 
"  veritable  presentment "  of  the  father  of  the 
colony  of  Virginia,*  if  we  can  believe  the  eulo- 
gistic lines  which  we  find  inscribed  beneath  it, 
after  the  fashion  of  those  days  of  "  portrait 
verses,"  when  the  poet  was  called  upon  to  sup- 
plement the  work  of  the  artist,  and  performed 

*This  portrait  appears  in  the  upper  left  hand  corner  of  the  Map  of 
New  England  in  Smith's  Description  of  New  England.  Printed  at 
London,  by  Humfrey  Lownes,  for  Robert  Clerke,  1616. 


AMERICAN  REVOLUTIONARY  WAR 

his  allotted  part  with  such  delightful  quaintness 
and  originality. 

"  Thefe  are  the  Lines  that  fhew  thy  Face ;  but  thofe 

That  shew  thy  Grace  and  Glory,  brighter  bee 
Thy  Faire-D'ifcoueries  and  -fozf/^-Overthrowes 

Of  Salvages  much  Civiliz'd  by  thee. 
Beft  shew  thy  Spirit ;  and  to  it  Glory  Wyn 
So,  thou  art  Brafse  without  but  Golde  within 


If  fo  in  Brafse,  (too  foft  smiths  Acts  to  beare) 
I  fix  thy  Fame,  to  make  Brafse  Steele  outweare 
Thine  as  thou  art  Virtues." 

JOHN  DAUIES,  Heref. 

There  are  a  number  of  fine  engravings  and 
trustworthy  likenesses  of  the  Quaker,  William 
Penn,*  without — but  more  often  with — the  hat 
which  he  refused  to  doff  even  in  the  august 
presence  of  his  King.  Of  Cecil  Calvert,  Lord 
Baltimore,  there  is  a  good  folio,  three-quarter 
length,  by  Blotling;  of  James  II.,  when  Duke 
of  York,  one  by  Loggan  ;  and  of  courtly  Sir 
Walter  Raleigh,  the  "  honorable  and  learned 

*  An  oclavo  portrait  of  Penn,  engraved  in  stipple  by  Edwin  from  a 
bust  by  Sylvanus  Bevan,  is  a  scarce  and  high-priced  print.  There  are 
better  portraits  of  Penn  of  English  execution  that  are  less  expensive,  but  it 
must  be  borne  in  mind  that  an  eighteenth  century  American  engraving 
always  takes  precedence  in  the  estimation  of  the  collector  over  one  of 
the  same  period  executed  abroad. 


THE  PORTRAITURE  OF  THE 

knight,"  and  of  his  royal  mistress,  the  Virgin 
Queen,  there  are  portraits  galore  in  all  shapes 
and  sizes,  executed  by  such  clever  wielders  of 
the  graver  as  Rogers,  the  Passes, Vaughn,  Cross 
and  Marshall.  These  and  others  we  might 
mention  were,  it  is  true,  simply  proprietors  and 
not  sons  of  the  soil ;  but  the  American  citizen, 
native  born,  had  not  yet  had  time  or  oppor- 
tunity to  make  for  himself  a  world-wide  repu- 
tation. As  we  pass  on  to  revolutionary  times, 
it  would  appear  that  he  speedily  began  to  gain 
notoriety  and  attract  attention  in  foreign  parts, 
if  the  portraits  of  our  worthies  which  the  best 
artists  of  Europe  then  produced  are  allowed  in 
evidence. 

Portraits  of  Washington  and  Franklin,  es- 
pecially the  latter,  engraved  in  France  and 
England  are,  as  would  naturally  be  expected, 
the  most  numerous.  Mr.  Elias  Dexter,  the 
old  print-seller  of  our  younger  days,  collected 
several  hundred  different  portraits  of  Franklin, 
and  I  do  not  believe  he  considered  his  col- 
lection complete.  Many  of  these  engravings — 
all  the  finest — are  French.  The  heart  of  the 
French  nation  went  out  to  the  struggling  young 
republic  across  the  sea,  and  when  the  American 
Commissioner,  in  his  plain  attire  of  "  garments 
grey,"  appeared  at  the  gilded  court  of  Ver- 


AMERICAN   REVOLUTIONARY  WAR 

sailles,  that  gay  and  brilliant  company  made 
him  the  idol  of  the  hour  and  paid  him  the  sin- 
cerest  form  of  flattery  by  aping  the  simple  fash- 
ion of  his  dress.  The  foremost  painters  and 
sculptors  of  France  vied  with  each  other  in 
depicting  on  paper,  canvas  and  ivory,  in  bronze, 
marble,  bisque  and  porcelain,  the  curled  and 
powdered  wig,  fur  cap  and  spectacles  of  Frank- 
lin, until  the  wise,  benevolent,  kindly  face  of  the 
Philadelphia  printer  became  known  throughout 
the  length  and  breadth  of  the  kingdom.  The 
flattering  lines  which  appear  at  the  foot  of  a 
beautifully  engraved  octavo  portrait  of  Frank- 
lin by  Le  Beau  attest  the  admiration  of  the 
French  people  for  the  character  and  genius  of 
the  transatlantic  statesman,  philosopher  and 
sage,  who  for  more  than  eight  years  sojourned 
among  them  : 

"  Sa  Vertu,  son  Courage  et  sa  Simplicite, 
De  Sparte  ont  retrace  le  Cara6tere  Antique 
Et  cher  a  la  raison,  cher  a  I'Hutnanite 
II  Eclaira  1'Europe  et  sauva  1'Amerique." 

The  most  beautiful  of  the  small  portraits  of 
Franklin  is  the  duodecimo  we  have  reproduced, 
engraved  by  Alexandre  Tardieu  after  the  paint- 
ing by  Duplessis.  It  is  a  gem  of  copper-plate 
engraving  of  the  very  first  water,  such  as  only 

13 


THE  PORTRAITURE  OF  THE 

the  best  of  the  French  "  Graveurs  du  dix- 
huitieme  siecle  "  were  capable  of  producing. 

Next  to  the  Washingtons  and  Franklins  in 
point  of  number,  as  well  as  in  the  quality  of 
the  engravings  that  are  procurable,  are  portraits 
of  the  Marquis  de  Lafayette.  After  passing 
"  on  Fame's  eternal  beadroll "  this  name,  so 
affectionately  regarded  by  all  Americans,  we 
have  less  freedom  of  selection  in  completing  our 
galaxy  of  Revolutionary  celebrities,  but  of 
almost  every  individual  at  all  distinguished  in 
the  annals  of  those  days  some  picture  is  to  be 
had,  good,  bad  or  indifferent.  It  may  be  a 
speaking  likeness  or  it  may  be  a  transparent 
fraud.  A  few  names,  however,  are  wanting  in 
the  series  of  Icones  Heroum  Americanorum 
which  we  greatly  miss.  We  may  take  our 
choice  of  a  number  of  good  pictures  of  the 
"  Unfortunate  Major  Andre,"  but  of  the  "  mar- 
tyr spy,"  Captain  Nathan  Hale,  who  came  to 
the  same  pitiable  ending  of  a  brave  career, 
there  is  no  engraved  portrait. 

A  scarce  and  curious  octavo  print,  to  which 
attention  may  be  drawn  in  this  connection,  is 
conjectured  to  be  a  portrait  of  the  executioner 
of  Nathan  Hale,  one  William  Cunningham,  a 
riding  master  in  this  city  before  the  Revolution 
and  a  Loyalist  of  the  most  obnoxious  type. 


AMERICAN  REVOLUTIONARY  WAR 

During  the  British  occupancy  he  was  made 
Provost  Marshal  and  placed  at  the  head  of  the 
police  of  the  city.  While  this  picture  can- 
not be  positively  authenticated,  the  coarse, 
brutal  face  which  glares  at  the  beholder  from 
this  engraving  answers  perfectly  to  the  char- 
acter which  history  ascribes  to  the  cruel  Cun- 
ningham. The  inscription  at  the  bottom  of  the 
plate  strengthens  the  belief  that  it  is  a  genuine 
likeness  of  the  notorious  Provost.  It  reads 
thus  :  "This  portrait  was  taken  by  an  artist  of 
eminence  and  stuck  up  in  the  English  Coffee 
House  at  Dunkirk  and  was  greatly  admired 
there  as  a  good,  characteristic  likeness." 

There  is  a  colored  engraving  by  A.  H. 
Ritchie,  after  a  design  by  F.  O.  C.  Darley,  en- 
titled "Last  Words  of  Captain  Nathan  Hale, 
the  Hero  Martyr  of  the  American  Revolu- 
tion," published  some  thirty  or  forty  years  ago, 
in  which  the  face  of  Cunningham  appears,  and 
bears  quite  a  strong  resemblance  to  the  portrait 
"stuck  up  in  the  English  Coffee  House  at 
Dunkirk,"  but  it  may  be  a  mere  coincidence, 
as  it  is  doubtful  if  Mr.  Darley  ever  saw  the 
engraving  above  described.  The  scene  he 
portrays  is,  of  course,  purely  imaginary.  The 
story  of  the  last  moments  of  Nathan  Hale, 
which  has  been  perpetuated  for  all  time  by  a 

15 


THE  PORTRAITURE  OF  THE 

statue  on  the  spot  where  he  suffered  martyr- 
dom is  told  effectively  in  the  stirring  martial 
lyric  by  Francis  M.  French,  three  verses  of 
which  we  quote : 

"  To  drum-beat  and  heart-beat, 

A  soldier  marches  by ; 
There  is  color  in  his  cheek, 

There  is  courage  in  his  eye, 
Yet  to  drum-beat  and  heart-beat 

In  a  moment  he  must  die." 


"  'Neath  the  blue  morn,  the  sunny  morn, 

He  dies  upon  the  tree ; 
And  he  mourns  that  he  can  lose 

But  one  life  for  liberty ; 
And  in  the  blue  morn,  the  sunny  morn, 

His  spirit  wings  are  free." 


"  From  Fame-leaf  and  Angel-leaf 

From  monument  and  urn, 
The  sad  of  Earth,  the  glad  of  Heaven 

His  tragic  fate  shall  learn  ; 
And  on  Fame-leaf  and  Angel  leaf 

The  name  of  Hale  shall  burn  !  " 

We  have  at  least  five  early  engravings  of 
Major  John  Andre,  all  of  an  octavo  size,  be- 

16 


AMERICAN   REVOLUTIONARY  WAR 

sides  the  engraving  in  Barnard's  History*  of 
England,  London,  1782,  which  depicts  his  ex- 
ecution. The  light-hearted  banter  in  the  clos- 
ing verse  of  Andre's  well-known  ballad,  "  The 
Cow  Chace,"  has  a  different  sound  when  it  is 
read  under  the  shadow  of  his  scaffold. 

"  And  now  I've  closed  my  epic  strain, 

I  tremble  as  I  show  it, 
Lest  this  same  warrior-drover  Wayne 
Should  ever  catch  the  Poet." 

The  last  canto  of  this  epic  was  published  in 
Rivington's  Gazette  on  the  day  when  Andre 
was  captured.  The  original  copy  is,  it  is  said, 
still  in  existence  and  has  the  following  endorse- 
ment upon  it,  beneath  the  signature  of  Major 
Andre  : 

"  When  the  epic  strain  was  sung 
The  poet  by  the  neck  was  hung 
And  to  his  cost  he  finds  too  late 
The  dung  born  tribe  decides  his  fate." 

The  Articles  of  War  were  strictly  enforced 
in  both  the  American  and  British  camps,  and 

*This  folio  volume  and  another  similar  work  by  Raymond,  pub- 
lished about  the  same  time,  supply  a  number  of  Revolutionary  and  pre- 
Revolutionary  scenes  of  a  more  or  less  fabulous  charadler,  among  them 
"  Braddock's  Defeat,"  "  Burning  of  Charlestown,"  "Capture  of  Gene- 
ral Lee  "  and  "The  Surrender  of  Cornwallis." 

'7 


THE  PORTRAITURE  OF  THE 

the  captured  spy  received  a  long  rope  and  short 
shrift,  as  witness  General  Putnam's  sententious 
reply  to  Governor  Tryon,  who  had  demanded 
the  release  of  Lieutenant  Palmer,  an  English 
officer,  detected  as  a  spy  in  Putnam's  camp  : 
"  Sir :  Nathan  Palmer,  a  lieutenant  in  your 
King's  service,  was  taken  in  my  camp  as  a  spy  ; 
he  was  condemned  as  a  spy,  and  he  shall  be 
hanged  as  a  spy.  P.  S.  Afternoon.  He  is 
hanged." 

Of  the  unfortunate  Andre,  whose  career, 
up  to  the  time  of  the  Arnold  conspiracy,  as  a 
social  leader  in  New  York  and  Philadelphia, 
where  he  was  the  organizer  and  leading  figure 
in  the  famous  Meschianza,  had  been  so  bril- 
liant, and  whose  tragic  end  affected  so  wide  a 
circle  of  friends,  the  portraits  are  as  follows : 

First.  The  one  which  appears  in  Joshua 
Hett  Smith's  "Authentic  Narrative."  To 
which  is  added:  "A  Monody  on  the  Death 
of  Major  Andre,  by  Miss  Seward."  London, 
1808.  This  book  also  contains  a  print  of 
Andre's  Tomb  in  Westminster  Abbey.  The 
portrait  is  in  an  ornamental  frame,  which  en- 
closes at  the  bottom  a  female  figure  weeping 
at  a  tomb. 

Second.  "  MAJOR  JOHN  ANDRE.  Late 
Adjutant  General  to  the  British  Army  in 

18 


AMERICAN   REVOLUTIONARY  WAR 

North  America."  Full  length.  Dodd,  delin. 
Cook,  sculp.  Engraved  for  Raymond's  His- 
tory of  England. 

Third.  "THE  UNFORTUNATE  MAJOR  AN- 
DRE." Bust  in  an  oval,  above  an  emblematic 
female  figure  of  Truth,  in  clouds  with  sun- 
burst, all  within  a  rectangle.  I  am  unable  to 
trace  the  origin  of  this  print. 

Fourth.  "  MAJOR  JOHN  ANDRE,  Adjutant 
General  to  his  Majesty's  Forces  in  North 
America,  under  the  command  of  Sir  Henry 
Clinton."  Bust  in  an  oval  in  square,  with 
tablet.  Engraved  by  D.  Berger. 

Fifth.  "  MAJOR  ANDRE."  Whole  length, 
published  in  Walker's  Hibernian  Magazine, 
Dublin,  1771-181 1. 

The  "  Hibernian  "  is  an  excessively  scarce 
periodical.  The  British  Museum  possesses 
only  a  very  imperfect  copy,  wanting  portions 
of  even  the  text  and  with  "  the  plates  very 
deficient  throughout." 

A  more  modern  print  of  Major  Andre  is  a 
small  plain  oval.  Engraved  by  J.  K.  Sherwin, 
after  a  painting  by  Major  Andre. 

In  passing,  it  may  be  interesting  to  mention 
the  fact  that  the  original  pen  and  ink  drawing 
of  himself,  made  by  Andre  the  night  before 


THE  PORTRAITURE  OF  THE 

his  execution,  is  now  in  the  collections  of  Yale 
College. 

The  engraving  by  Jean  Borait  Winckler, 
hitherto  presumed  by  collectors  to  contain  a 
picture  of  Major  Andre,  presents  an  interest- 
ing study  of  the  various  phases  through  which 
a  print  may  be  made  to  pass  by  means  of  a 
little  simple  manipulation  by  an  unscrupulous 
hand.  This  engraving,  which  we  reproduce,  was 
printed  for  Carrington  Bowles,  in  St.  Paul's 
Churchyard,  London,  and  is  entitled  "  Les 
Royalists  ou  les  Officiers  du  premier  Rang  de 
1'Armee  Engloise  et  des  Trouppes  auxilieures 
a  Novelle  Yorck  "  (title  repeated  in  German). 
Three  officers  in  the  center  of  the  room  are  ex- 
amining a  map.  It  has  been  innocently  surmised 
that  the  seated  figure  holding  the  map  repre- 
sented Sir  Henry  Clinton,  and  the  one  stand- 
ing, with  a  long-stemmed  pipe  in  his  mouth, 
Lord  Howe,  while  the  figure  of  a  young  man  in 
a  cocked  hat,  writing  at  a  side  table,  has  passed 
for  Major  Andre.  See  plate  facing  page  i. 

Except  in  size  and  the  omission  of  the 
seal  with  arms  from  the  lower  margin,  this 
engraving  is  no  more  nor  less  than  a  copy  of  a 
finer  and  larger  engraving  (iy^x  13^8  inches) 
by  J.  Houbraken,  after  a  painting  by  Cor- 
nelius Troost — known  as  the  Dutch  Hogarth, 


Knifksrf'GC&e.r  recrrdinq l/tf  qraHant  acic.cn,''  ant£  acTtre ve 
cc 


AMERICAN   REVOLUTIONARY  WAR 

— which  bears   the   following  inscription    (re- 
peated in  Dutch) : 

Second  Corps  de  Garde  d'Officiers  Hollandois 

Dedie  a  Monsieur  Dionis  Muilman 

Conseiller  de  la  Ville  d' Amsterdam 

par  son  tres  humble  Serviteur 

P.  Fouquet,  junior. 
Tire  du  Cabinet  de  Monsieur  Dionis  Muilman* 

de  la  meme  grandeur  que  1*  Original 
A  Amsterdam  chez  P.  Fouquet  junior  1760. 

It  would  seem  as  though  this  composition, 
by  Troost,  having  performed  such  efficient  ser- 
vice, ought  not  in  fairness  be  asked  to  take 
part  in  still  another  role.  But  lo  and  behold, 
after  the  better  part  of  a  century  of  repose 
the  busy  scrivener  in  his  cosy  corner  is  neatly 
excised  from  the  surrounding  engraving  and 
appears  again  in  Valentine's  Manual  of  the 
Corporation  of  the  City  of  New  York,  for  the 
year  1851,  as  our  renowned  local  historian, 
"  Diedrich  Knickerbocker"  vide  the  reproduc- 
tion on  the  opposite  page  for  ocular  demonstra- 
tion of  the  truth  of  this  statement. 

The  portraits  by  J.  Normanf  of  General 
and  Mrs.  Washington,  published  in  Boston, 

*This  collection  was  sold  in  1773,  and  the  pi&ure  of  "  The  Dutch 
Guard"  brought  186  florins. 

•^Inscription  on  this  engraving  :  "  B.  Blyth,  del.  J.  Norman, 
Sculp.  His  Excellency,  George  Washington,  Esq.,  General  and  Com- 
mander in  Chief  of  the  Allied  Armies  supporting  the  Independence  of 


THE  PORTRAITURE  OF  THE 

March  26th,  1782,  by  John  Coles  (called  large, 
in  contradistinction  to  the  "  Washington  "  by 
the  same  artist  in  the  "  Impartial  History  "), 
stand  pre-eminent  among  rare  Revolutionary 
prints.  Only  a  very  few  copies  of  these  two 
prints  are  known  to  exist.  As  atrociously  bad 
engravings  they  rival  the  set  of  four  Doolittle 
prints*  of  the  battles  of  Lexington  and  Con- 
cord (claimed  to  be  the  first  historical  engrav- 
ings executed  in  this  country),  which  were 
published  at  four  shillings  plain  and  six  shil- 
lings colored.  The  Lenox  Library  recently 
paid  five  hundred  dollars  for  a  set  of  the 
Doolittle  prints.  These  and  the  Norman 
Washingtons  when  offered  for  sale  tempt  more 
dollars  from  the  collector's  purse  than  any 
other  Revolutionary  prints,  except  it  might 
be  the  original  Boston  Massacre,  by  Paul 
Revere,  but  a  perfect  copy  of  this  engraving  is 
now  simply  not  to  be  had  for  love  or  money. 
Almost  as  difficult  to  find  as  any  of 

America."  Taken  from  an  original  pidure  in  possession  of  his  Excel- 
lency Gov.  Hancock,  published  by  John  Coles,  Boston,  Mch.  z6th, 
1782. 

*Barber,  in  his  "History  and  Antiquities  of  New  Haven,"  states 
that  these  prints  were  engraved  on  copper  in  1775,  by  Amos  Doolittle, 
from  original  paintings  taken  on  the  spot  by  Mr.  Earl,  a  portrait 
painter.  They  were  Mr.  Doolittle's  first  attempt  at  the  art  which  he 
pursued  for  more  than  half  a  century.  (Where  are  the  results  ?)  Mr. 
Doolittle  was  still  living  and  practicing  his  art  as  late  as  1831. 


AMERICAN   REVOLUTIONARY  WAR 

the  above-mentioned  prints  is  the  "  Pater 
Patriae  "  portrait  of  Washington  (described  by 
W.  S.  Baker,  No.  403)  painted  by  John  Coles, 
Jun.,  engraved  by  E.  G.  Gridley,  Boston,  1800, 
a  very  small  portrait  with  a  mass  of  symbolical 
surroundings.  The  earlier  American  engrav- 
ers were  fond  of  giving  their  "  effigies  "  elabo- 
rate borders,  some  of  which  display  considera- 
ble ingenuity,  and  not  a  little  artistic  feeling. 
Perhaps  they  caught  the  pretty  trick  from  some 
old  silvery  and  elaborately  bordered  print  by 
Marshall  or  Deleram  that  fell  in  their  way  ;  not 
that  the  ornamental  surroundings  we  find  on 
American  prints  are  Marshallesque  in  character; 
they  would  rather,  I  judge,  be  classed  by  Ex- 
Libris  authorities — the  priests  of  the  last  new 
cult  among  collectors  in  the  order  of  Chippen- 
dales. For  some — to  the  lay  mind — occult 
reason,  borders  of  any  kind  are  engraved  only 
in  line  or  stipple.  At  least,  I  cannot  recall 
having  seen  a  mezzotinted  border  to  a  print. 
If  a  mezzotint  has  a  border  at  all — which  is 
rarely  the  case — it  is  engraved  in  line  or  stipple. 
A  number  of  contemporaneously  engraved 
"  heads  "  in  octavo — that  convenient  size  for 
the  "  extra  illustrator  " — are  supplied  by  our 
own  eighteenth  century  magazines :  The 
Royal  American,  The  New  York,  The  Colum- 


THE  PORTRAITURE  OF  THE 

bian,  The  Massachusetts,  and  The  Monthly 
Military  Repository ;  by  "Andrews',"  "  Rus- 
sell's" and  "Murray's"  (English)  "Histories 
of  the  War  ; "  by  The  London,  The  Universal, 
The  Political,*  The  Westminster,!  The  Lot- 
tery, and  The  European  magazines,  and  by 
the  "Impartial  History,"  that  book  so  greatly 
coveted  by  the  collector,  which  contains  a  dozen 
alleged  portraits  of  prominent  Revolutionary 
characters,  including  an  extraordinary  picture, 
or,  more  properly  speaking,  unintentional  carica- 
ture, of  General  Washington.  There  were  two 
editions  of  this  work,  one  printed  in  Carlisle 
and  London  by  R.  Faulder,  1780,  and  the 
other  in  Boston  by  Nathaniel  Coverly  and 
Robert  Hodge,  1781-82,  both  in  octavo. 
The  last  named,  with  the  plates  engraved  by 
J.  Norman,  is  by  far  the  rarer,  and  from  the 
standpoint  of  a  print  collector  on  this  side  the 
sea,  altogether  the  more  desirable.  They  are 
not  the  best  engravings  but  they  are  the  most 
singular  and  original  looking  prints,  and,  be- 
sides, are  of  home  manufacture,  and  supply  us 
with  specimens  of  American  engravings  in  the 

*The  Political  Magazine,  London,  1780,  five  volumes  (oftavo), 
contains  portraits  of  Andre,  Burgoyne,  Carleton,  etc.,  and  others. 

f Westminster  Magazine,  London,  1773-1785.  Thirteen  volumes 
(odlavo),  contains  portraits  of  Washington,  Henry  Laurens,  Benedict 
Arnold,  Colonel  Tarleton,  Lord  Rawdon  and  others. 

24 


AMERICAN  REVOLUTIONARY  WAR 

eighteenth  century  which  are  not  always  to  be 
had  for  the  asking.  It  is  important  for  the  col- 
lector to  secure  both  editions  of  the  "  Impar- 
tial History,"  as  the  same  individuals  are  not 
portrayed  in  each.  Only  five  appear  in  both  : 
Namely,  those  of  Franklin,  Adams,  Gates, 
Washington  and  Hancock.  The  remaining 
seven  portraits  in  the  two  editions  compare 
as  follows : 

ENGLISH  AMERICAN 

Arnold  Knox 

Wooster  Wayne 

Putnam  Lincoln 

Lee  Montgomery 

Commodore  Hopkins  Warren 

Lord  Howe  Greene 

Sir  William  Howe                   Lafayette 

In  the  English  edition  the  twelve  portraits 
are  all  whole  lengths,  except  the  Franklin, 
which  is  a  three-quarter  length.  Adams,  Frank- 
lin and  Hancock  are  seated,  all  the  others  are 
standing.  In  the  American  edition  Knox, 
Wayne,  Lincoln,  Franklin  and  Gates  are  busts 
in  ovals,  Montgomery,  Warren  and  Washing- 
ton are  whole  lengths  standing.  Hancock  is  a 
whole  length  seated.  Greene  is  a  bust  in  oval 
with  base  on  which  is  depicted  a  battle  scene. 
Lafayette  is  a  bust  in  an  oval  with  a  wreathed 


THE  PORTRAITURE  OF  THE 

frame.  Adams  is  a  bust  in  an  oval  in  a  square 
on  a  base  adorned  with  emblematical  figures. 
In  addition  to  the  portraits  the  American  edi- 
tion contains  "  A  View  of  the  town  of  Fal- 
mouth  (Portland),  burnt  by  Capt.  Moet,  Oct. 
1 8th,  1775,  and  a  plan  of  the  Town  of  Bos- 
ton, with  the  Attack  on  BUNKER  HILL  in  the 
Peninsula  of  Charlestown,  the  I7th  of  June, 
1775."  These  plates  are  offset  in  the  English 
edition  by  a  print  called  The  American  Rifle- 
man, and  a  new  map  of  North  America  (a 
large  folding  plate). 

It  will  be  seen  by  a  glance  at  the  foregoing 
lists  that  the  portraits  in  the  Boston  edition 
which  are  not  common  to  both  imprints  are 
richer  prizes  for  the  American  collector  than  the 
prints  which  replace  them  in  the  London  edi- 
tion. Especially  is  this  true  of  Joseph  Warren 
and  Richard  Montgomery,  pictures  of  whom 
are  scarce  and  continually  in  demand,  while 
Commodore  Hopkins  and  Admiral  Howe  are 
comparatively  unimportant  prints.  These  men 
of  the  sea,  distinguished  for  their  valor  as  they 
were,  are  not  for  a  moment  to  be  considered  a 
fair  exchange  for  the  two  hero  martyrs  whose 
places  they  usurp. 

The  following  scathing  and  amusing  criticism 
upon  the  illustrations  in  the  Boston  edition  of 


AMERICAN  REVOLUTIONARY  WAR 

the  "  Impartial  History "  is  copied  verbatim 
from  the  "  Freeman's  Journal,"  of  Philadelphia, 
January  26,  1795.  It  shows  that  even  one 
hundred  years  ago  the  aesthetic  sense  of  this 
community  could  not  be  trampled  upon  with 
impunity : 

"  A  new  American  history  of  the  late  war, 
says  a  literary  correspondent,  seems  to  be  much 
wanting ;  one  in  which  impartiality,  strict  truth, 
elegance  and  precision  shall  be  united.  Such  a 
one  cannot  fail  of  being  acceptable  to  every  class 
of  readers.  The  expense  of  copper  plates,  how- 
ever, might  be  spared,  unless  they  could  be 
executed  in  a  different  stile  from  those  in  the 
history  of  the  American  War,  printed  at  Boston 
in  1781  and  82.  There  gen  Knox  and  Sam 
Adams,  are  represented  more  frightful  than  lord 
Blackney  on  a  London  ale  house  sign,  and  gen 
Greene  the  exact  resemblance  of  Jonathan  wild, 
in  the  frontispiece  of  a  two  penny  history. 
Surely  such  extraordinary  figures  are  not  in- 
tended to  give  the  rising  generation  an  improved 
taste  in  the  arts  of  designing  and  sculpture." 

It  is  curious  to  note  the  duplication  of  prints 
relating  to  our  Revolutionary  history  on  the 
two  sides  of  the  Atlantic  Ocean,  at  a  period 
when  it  formed  a  much  broader  line  of  phy- 
sical division  than  it  does  in  this  age  of  steam 

*7 


THE  PORTRAITURE  OF  THE 

and  electricity.  It  furnishes  an  indication  of 
the  lively  interest  taken  at  the  time  in  the 
mother  country  in  the  affairs  of  her  rebellious 
colonies — an  interest  which  it  is  very  plain  and 
not  a  little  entertaining  to  see  abated  rapidly 
after  the  happy  termination  of  the  family  feud 
in  1783. 

We  may  select  as  an  example  of  this  repro- 
duction of  engravings  the  famous  print  of  the 
"  Boston  Massacre,"  by  Paul  Revere,  of  which 
there  are  extant  at  least  four  engraved  copies 
and,  I  believe,  a  lithographic  fac-simile.  First, 
an  octavo  print  prefixed  to  "  A  Short  Narrative 
of  the  Horrid  Massacre  in  Boston,"  published 
by  Edes  &  Gill  in  1770,  by  order  of  the  town 
of  Boston.  Second,  a  large  folding  plate  in- 
tended, presumably,  to  be  of  the  size  of  the 
original  by  Paul  Revere,  which  appears  as  a 
Frontispiece  in  an  English  reprint  of  the  above- 
mentioned  edition,  published  the  same  year  by 
W.  Bingley.  Third,  an  octavo  plate  which 
is  the  Frontispiece  to  still  another  reprint  of 
the  "Narrative,"  issued  in  1770  by  E.  &  C. 
Dilly,  London.  Fourth,  an  octavo  print  ex- 
ecuted in  England  probably  in  the  same  year. 
In  this  copy  the  dog  which  appears  in  the  fore- 
ground of  all  the  other  pictures  is  omitted. 
With  this  exception  the  different  engravings 


*?* Samf.  (fray,  Sa^ 
Fatrtck  Otrr,  werv  JeiMeat,*>u?  etAetv  nwunctevt,  two  ofin 


AMERICAN  REVOLUTIONARY  WAR 

are  as  faithful  transcripts  one  of  the  other  as 
the  unequal  talents  of  the  artists  enabled  them 
to  make. 

In  the  Bagley  reprint  the  engraving  appears 
sometimes  with  and  sometimes  without  the 
lengthy  caption,  and  the  verses  and  scriptural 
quotations  at  the  foot  of  the  plate,  which  are 
here  transcribed.  Many  of  the  titles  on  these 
earlier  Revolutionary  prints  are  so  voluminous 
that  an  arrangement  of  them  in  chronological 
order  would  result  in  an  abridged,  but,  it  must 
be  admitted,  not  thoroughly  reliable  history  of 
the  War. 

THE  FRUITS   OF 

ARBITRARY  POWER  ;  OR  THE  BLOODY  MASSACRE 
perpetrated  in  King-ftreet,    Bofton,  by 

a  party  of  the  XXIXth  Regt. 

In   which  MeflTrs.    Sam.    Gray,      Sam.    Maverick,  James 

Caldwell,  Crispus  Attacks,  Patrick  Carr,  were 

killed.    Six  others  were  wounded,  two  of 

them  [Christopher  Monk  and 

John  Clark]  mortally. 


"  Unhappy  Bofton  !  fee  thy  Sons  deplore, 

Thy  hallo w'd  walks  besmear'd  with  guiltlefs  Gore; 

While  faithlefs  PRESTON,  and  his  favage  Bands, 

With  murd'rous  Rancour  stretch  their  bloody  Hands; 

Like  fierce  Barbarians  grinning  o'er  their  Prey, 

Approve  the  Carnage  and  enjoy  the  day. 

If  fcalding  Drops,  from  Rage,  from  Anguifh  wrung, 

29 


THE  PORTRAITURE  OF  THE 

If  fpeechless  Sorrows  lab'ring  for  a  Tongue 
Or  if  a  Weeping  World  can  aught  appeafe 
The  plaintive  Ghofts  of  Victims  fuch  as  thefe 
The  Patriot's  copious  Tear  for  each  are  fhed, 
A  glorious  Tribute  which  embalms  the  dead. 
But  know,  Fate  fummons  to  that  awful  Goal, 
Where  Juftice  ftrips  the  murd'rer  of  his  Soul ; 
Should  venal  Courts,  the  fcandal  of  the  Land, 
Snatch  the  relentlefs  villian  from  her  Hand, 
Keen  Execrations  on  this  Plate  infcrib'd 
Shall  reach  a  Judge  who  never  can  be  brib'd." 


"How  long  (hall  they  utter  "They  flay  the  Widow  and  the 

and  fpeak  hard  things?  and  all  the  Stranger  and  murder  the 

Workers  of  Iniquity  boast  them-  Fatherlefs.     Yet  they  fay, 

selves  ?     They  break  in  pieces  The  LORD  (hall  not  fee. 

thy  People,  O  LORD,  and  airlift  Neither  (hall  the  God  of  Jacob 

thine  Heritage."  regard  it  " 

Ps.  xciv.  4.  5.  Ps.  xciv."  6.  7. 

Copies  of  this  engraving  were  apparently 
sold  separately  from  the  book  for  6d.  each. 

Another  instance  of  a  re-engraved  plate  to 
which  it  is  well  to  draw  the  attention  of  the 
print  collector,  is  that  of  the  very  curious  octavo 
portrait  of 

GEORGE  WASHINGTON 

Commander  in  Chief  of  ye  Armies  of  ye 

UNITED  STATES  OF  AMERICA 

in  an  oval  surmounted  by  a  coiled  snake  and  a 
liberty  cap,  above  which  we  read  the  significant 


AMERICAN   REVOLUTIONARY  WAR 

legend,  "  Don't  tread  on  me."  This  print  was 
engraved  by  Brunton  as  a  Frontispiece  to  "  A 
Poetical  Epistle  to  Washington,"  printed  at 
Providence,  R.  I.,  in  1781,  which  is  of  the 
greatest  rarity.  The  portrait  is  a  copy  of 
one  engraved  by  W.  Sharp,  which  appeared 
in  a  prior  edition  of  the  "  Poetical  Epistle  "  re- 
printed^ London,  1780  from  the  original  An- 
napolis, Md.,  edition  of  1779.  This  engraving 
by  Sharp,  Mr.  Baker  states,  was  subsequently 
prefixed  to  "  The  Constitutions  of  the  several 
Independent  States  of  America,  etc.,"  by  the 
Revd.  William  Jackson,  London,  1783.  The 
date  in  the  address  on  the  print  was  altered  to 
1783  and  the  words,  "by  J.  Stockdale,  Picca- 
dilly," were  added. 

Still  another  copy  (in  reverse)  of  this  por- 
trait, but  without  the  legend  "  Don't  tread  on 
me,"  in  the  upper  border  was  engraved  by  N. 
Pruneau  with  the  title  : 

GEORGE  WASHINGTON,  Commandant  en 
Chef  des  Armees  des  Etats  Unis  de  1'Amer- 
ique. 

Thus  we  have  of  this  portrait — the  original 
source  of  which,  by  the  way,  appears  to  be 
in  doubt — three  different  engravings,  with  one 
of  them  in  two  states.  This  is  assuming  that 
no  portrait  was  contained  in  the  Annapolis  edi- 

3' 


THE  PORTRAITURE  OF  THE 

tion  of  "  A  Poetical  Epistle  to  his  Excellency 
George  Washington,  Esq.,  from  an  Inhabitant 
of  the  State  of  Maryland." 

A  further  illustration  of  the  case  in  point  is 
afforded  by  the  folio  equestrian  portrait  in 
mezzotint  of  Washington,  published  by  C. 
Shepherd,  London,  1775.  Two  distinct  copies 
of  this  portrait,  but  much  smaller  in  size,  and 
engraved  in  line,  were  made  in  Germany  about 
three  years  later.  The  backgrounds  differ  in 
all  three  prints,  and  in  one  the  tail  of  the  horse  is 
cropped,  but  the  figure  is  the  same  in  each  case. 

Another  small  folio  mezzotint,  a  three- 
quarter  length  portrait  of  Washington  in  mil- 
itary dress,  was  issued  by  C.  Shepherd  in  1775, 
which,  as  well  as  the  prints  just  referred  to,  was, 
according  to  the  inscription  on  the  plate, 
"  done  from  an  *  original '  drawn  from  the 
life,"  by  Alex.  Campbell,  of  Williamsburgh, 
Va.  The  following  terse  and  not  over-flattering 
paragraph  in  Dunlap's  Arts  of  Design  (which 
is  all  the  notice  he  vouchsafed  to  the  Artist 
Campbell)  apparently  refers  to  the  equestrian 
portrait  above  mentioned  and  its  clever  origin- 
ator: 

"In  a  letter  from  General  Washington  to 
Colonel  Joseph  Reed  he  thanks  him  for  a 
picture  sent  by  him  to  Mrs.  Washington,  and 

32 


CEORGE  WASHING  TON.  Eff 


AMERICAN   REVOLUTIONARY  WAR 

meant  as  a  portrait  of  the  General,  which  was 
painted  by  a  Mr.  Campbell,  who  Washington 
says  he  never  saw."  The  letter  is  dated  from 
Cambridge  in  1776.  The  writer  says  the  painter 
has  "  made  a  very  formidable  figure  of  the  Com- 
mander-in-Chief."*  If  this  be  historical  truth, 
Mr.  Campbell  must  have  plumed  himself 
mightily  upon  his  creative  genius  when  he  saw 
his  likeness  drawn  from  the  life  copied  and  re- 
copied  and  scattered  broadcast  on  the  continent 
of  Europe  as  a  true  picture  of  "  George  Wash- 
ington, General  und  Commandeur  en  Chef  bey 
der  Provincial-Armee  in  America." 

Of  the  colored  portraits  of  Washington, 
which  are  with  few  exceptions  wretched  speci- 
mens of  engraving,  the  following  are  among 
the  rarest  and  most  curious  : 

G.  WASHINGTON  in  his  last  illness  attended 
by  Drs.  Craik  and  Brown.  Square  folio. 

GEORGE  WASHINGTON  (in  civilian  dress),  late 
President  of  the  United  States,  published  by 
I.  Hinton,  London,  1801,  folio.  Whole  length. 

GENERAL  WASHINGTON,  Late  President   of 

*"Mrs.  Washington  desires  I  will  thank  you  for  the  picture  sent 
her.  Mr.  Campbell,  whom  I  never  saw  to  my  knowledge,  has  made 
a  very  formidable  figure  of  the  Commander-in-Chief,  giving  him  a  suf- 
ficient portion  of  terror  in  his  countenance." — Washington  to  Joseph 
Reed,  Jan.  j/jf,  7776. 

33 


THE  PORTRAITURE  OF  THE 

the  American  Congress.  Painted  by  R. 
Wright  of  Philadelphia.  P.  Dawe,  Sculpt. 
London,  published  by  D.  Gaily.  Colored 
mezzotint  (issued  also  uncolored),  size,  19^2  x 
13^,  three-quarter  length.  This  is  a  fine  print. 

LE  CELEBRE  G.  WAS[H]INGTON,  General  des 
Anglos  Ameriquains.  Paris,  Ches.  Basset,  1778 
date  (in  MS.).  Folio.  Colored  line  engraving. 
A  curious  rendering  of  the  Trumbull  portrait 
reversed. 

GEORGE  WASHINGTON,  Esq.,  General  and 
Commander-in-Chief  of  the  Continental  Army 
in  America.  With  the  inscription  repeated  in 
French,  and  in  addition  the  words  "  nomme 
dictateur  par  la  Congres  en  Fevrier,  1777." 
Small  folio.  Bust  in  rectangle. 

The  folio  pictures  of  Putnam  and  "Charles 
Lee,  Esq.,"  "Major  Generals  of  the  Conti- 
nental Army  of  America,"  engraved  by  one 
Johan  Michael  Probst,*  are  truly  exhaustive 
efforts  of  the  artist's  imagination.  We  repro- 
duce the  one  of  Lee.  The  full  rounded  face 
bears  some  resemblance  to  the  one  in  the  coarse 
German  series  to  which  reference  will  be  made 
further  on,  otherwise  this  entire  picture,  from  the 
uplifted  hoof  of  the  General's  war  horse  to  the 

*There  is  also,  I  am  informed,  a  pifture  of  Washington  by  this 
artist. 

34 


.   //./AT  Crencrnt  cfthe  Cwti'tPiit'it'-  •  ?>;»<>  in    .  Itnenca. 


AMERICAN   REVOLUTIONARY  WAR 

rosette  which  cocks  his  hat,  we  are  forced  to 
conclude,  came  directly  out  of  Probst's  fertile 
brain,  but  it  and  the  "Putnam"  are  exceedingly 
rare  and  therefore  highly  prized  Revolutionary 
prints. 

The  lines  at  the  foot  of  this  picture  of  Gen- 
eral Lee,  which  are  also  repeated  in  German, 
read  as  follows: 

u  Seulement  les  Esclaves  se  rendent  volontere- 

ment  a  la  Tyrannic, 

mais  nous  cherchons  d'acquerer  la  liberte, 
en  rompent  par  force  les  fers  que  nous  lient 
parceque  notre  Symbole  dit,  vi&orisetou  mourir." 

A  curious  whole-length  in  octavo  of  Lee  in 
civilian's  dress,  after  a  painting  by  B.  Rush- 
brooke,  appears  in  a  work  by  Thomas  Girdle- 
stone,  published  in  London  in  1813,  in  which 
he  attempts  to  prove  that  General  Lee  was  the 
author  of  Junius.  It  is  claimed  that  this  por- 
trait was  drawn  from  the  life,  although  it  has 
all  the  appearance  of  a  caricature.  The  book 
which  contains  this  picture  has  become  quite 
scarce,  and  the  print  has  been  re-engraved  by 
A.  H.  Ritchie  for  the  "Treason  of  Lee,"  by 
Dr.  George  H.  Moore. 

The  inscription  beneath  a  small  folio  colored 
portrait,  three-quarter  length  (with  border),  of 
this  erratic  and  high-strung  officer  of  the  Con- 

35 


THE  PORTRAITURE  OF  THE 

tinental  Army  emphasizes  an  historical  fad  in 
his  career.  It  is  entitled  "  Charles  Lee,  Major 
General  de  1'Armee  Continental.  Presentment 
prisonnier  a  la  Nouvelle  Yorck." 

Among  the  helps  to  illustrators  of  Ameri- 
can Revolutionary  History,  which  date  back 
to  the  last  century,  are  the  set  of  octavo 
portraits  on  quarto  paper  of  soldiers  and 
civilians  (thirteen  in  number)  "drawn  from 
the  life"  by  Du  Simitiere,  Painter  and  Mem- 
ber of  the  Philosophical  Society  of  Philadel- 
phia, and  engraved  by  B.  L.  Prevost,  and 
two  curious  and  exceedingly  rare  series  of 
line  engravings  in  octavo,  executed  in  Ger- 
many, of  "  Generals  bey  der  Americanischen 
Armee."  In  one  of  these  sets  the  engraving 
is  very  coarse  and  crude ;  in  the  other  it  is 
quite  a  respectable  essay  in  graphic  art.  I  have 
a  record  of  twelve  different  portraits  belonging 
to  the  first  series,  namely,  those  of  Generals 
Greene,  Lee,  Washington  and  Sullivan,  Richard 
Lord  Howe,  Commodore  Hopkins,  Generals 
Arnold  and  Wooster,  Sir  William  Howe,  Major 
Robert  Rogers,  Hon.  John  Hancock  and  Dr. 
Benjamin  Franklin  ;  and  of  six  appertaining  to 
the  last  named  set,  viz. :  Rogers,  Hopkins, 
Wooster,  Washington,  Sullivan  and  Arnold. 
In  both  collections  the  portraits  have  landscape 

36 


AMERICAN  REVOLUTIONARY  WAR 

backgrounds,  with  the  exception  of  that  of 
Hopkins,  which  presents  a  sea  view,  and  that 
of  Hancock,  which  displays  an  interior.  A 
number  of  sets  of  six  prints  (stitched  together) 
comprising  portraits  of  Charles  Lee,  Put- 
nam, Franklin,  Rogers,  Arnold  and  Hopkins, 
of  the  same  size  and  general  character  as  those 
just  mentioned,  and  which  may  have  proceeded 
from  the  same  source,  were  unearthed  in  Ger- 
many some  years  ago.  Copies  in  aquatint  of 
these  six  prints  have  been  made  in  Paris  within 
the  last  three  years,  and  are  now  on  sale. 

The  Du  Simitiere  engravings  appear  to  have 
been  in  demand  in  England,  although  by  com- 
mon consent  of  the  collectors  of  to-day  they 
are  adjudged  poor  portraits,  even  if  they  were 
"  taken  from  the  life."  A  set  of  these  por- 
traits without  the  borders  and  printed  in  red 
ink  was  published  by  W.  Richardson,  Lon- 
don, May  loth,  1783,  and  announced  with  this 
mild  flourish  of  trumpets  :  "American  Legis- 
lators, Patriots  and  Soldiers,  who  have  distin- 
guished themselves  in  rendering  the  country 
independent."  Still  another  edition,  which  has 
the  appearance  of  being  a  rival  publication  to 
the  above,  bears  the  imprint  of  R.  Wilkinson, 
London,  and  the  plates  are  marked  B.  B.  E. 
(Ellis  ?)  in  the  lower  right  hand  corner.  Ac- 


37 


THE  PORTRAITURE  OF  THE 

cording  to  the  date  on  these  prints,  they  were 
issued  only  five  days  later  than  the  ones  by 
Richardson.  The  portraits  in  this  series  have 
square  engraved  borders  and  were  printed  in 
black,  red  and  also  in  colors.  In  the  original 
French  set  the  portraits  have  square  borders, 
and  the  heads  are  enclosed  in  circular  medal- 
lions, so  that  all  the  copies  differ  in  this  re- 
specl:.  The  portraits  in  these  various  editions 
are  faced  about,  now  to  the  right  and  now  to 
the  left.  The  original  French  engravings  are 
much  the  finest  and  most  to  be  desired. 

The  finest  of  Revolutionary  portraits,  in 
point  of  execution,  were  for  the  most  part,  as 
far  as  I  can  learn,  separate  publications  or 
served  as  Frontispieces.  Among  them  are 
the  folio  and  quarto  engravings  published  here 
and  in  England,  of  Washington,  after  the  paint- 
ings by  Savage,  Trumbull,  Peale  and  Wright, 
and  the  French  small  quarto  and  oftavo  por- 
traits* of  Washington,  Franklin,  Gates,  "Le 
Celebre"  Hancock,  Sir  Henry  Clinton,  Roch- 
ambeau,  D'Estaing,  Comte  de  Vergennes, 
Montcalm  and  others,  set  in  borders  composed 
of  military  emblems,  the  D'Estaing  and 

*Very  close  copies  of  a  number  of  these  rare  French  prints  have 
lately  appeared  for  sale,  some  of  which  bear,  but  they  all  do  not,  the 
following  explanation  of  their  origin  :  "  D'apres  le  physionotrace  de 
Quenedey.  Ed.  Gosselin,  Sculpt.,  1893." 

38 


AMERICAN   REVOLUTIONARY  WAR 

Montcalm,  by  Barbie,  here  referred  to,  are 
veritable  masterpieces  of  the  art  of  engraving.* 
They  are  surpassed  in  exquisite  finish  only  by 
the  series  of  remarkable  prints  by  J.  B.  Grata- 
loup,  the  secret  of  whose  unique  process  of 
engraving  died  with  him  and  has  never  been 
disclosed.  A  number  of  these  choice  French 
engravings  were  engraved  by  Dupin  and  pub- 
lished by  Esnauts  et  Rapilly,  viz.:  those  of 
Hopkins,  Lord  Rodney,  John  Paul  Jones, 
General  Reed,  Hancock,  Gates,  Arnold,  Charles 
Lee,  and  Cornwallis,  while  others,  including 
H.  Wme.  Greene,  Rochambeau,  Lafayette  and 
Sir  Charles  Hardy  bear  the  imprint  of  Mond- 
hare.  The  last  named  print  is  the  rarest  of  this 
series. 

The  Count  de  Rochambeau  appears  to  have 
received  little  attention  from  French  engravers 
of  this  period,  and  his  picture  is  one  of  the 
scarcest  of  Revolutionary  portraits. 

With  the  exception  of  the  print  referred  to 
in  the  foregoing  list,  a  poor  onef  in  colors  (small 
folio),  and  two  outline  prints  in  the  Versailles 
Gallery,  I  know  of  only  one  other  fine  por- 

*Another  fine  portrait  of  Charles  Henri  Comte  d'Estaing,  with  a 
border  composed  of  implements  of  war,  was  engraved  by  Coulet 
d'Haisone. 

•f-C.  F.  Comte  de  Rochambeau  Lieutenant  General  des  Armees 
du  Roi,  Commandant  1'Armee  Fran9aise  en  Amerique. — a  Pans  ches 
Basset  Rue  St.  Jaques.  whole  length,  colored. 

39 


THE  PORTRAITURE  OF  THE 

trait  of  this  gallant  gentleman  of  France,  our 
"  gracious  ally,"  a  small  oval  stipple  engraving 
by  Trettie,  Vienna,  1797. 

There  are  a  few  miscellaneous  European  eigh- 
teenth century  publications  which  furnish  fair 
poaching  grounds  for  the  American  collector. 
Among  them  the  "Essais  Historiques  et  Poli- 
tiques  sur  les  Anglo-Americaines,  par  M.  Mill- 
iard d'Auberteuil,  Brussels,  1781,"  in  which  we 
find,  in  addition  to  very  fair  portraits  of  Han- 
cock, Pitt  and  Franklin,  the  fine  engraving  by 
Leroy  of  the  full-length  Washington  by  Trum- 
bull,  which  is  one  of  the  choicest  of  all  prints 
among  the  smaller  pictures  of  the  Father  of 
His  Country. 

In  the  extensive  collection  of  miniature  por- 
traits uniform  in  size,  made  by  St.  Memin,  a 
remarkably  prolific  French  artist,  who  began 
to  draw  and  engrave  miniatures  in  New 
York,  Philadelphia,  and  as  far  south  as 
Charleston  soon  after  the  close  of  the  Revolu- 
tionary War,  we  find  a  few  of  the  names  which 
figured  conspicuously  in  that  great  drama, 
but  by  far  the  larger  number  of  them  are 
family  portraits  of  highly  respectable  nobodies 
in  particular,  chiefly  residents  of  the  City  of 
Brotherly  Love. 

The  more  recent  publications  in  which  por- 

40 


AMERICAN  REVOLUTIONARY  WAR 

traits   of  Revolutionary  characters   are   to    be 
found,  are: 

The  New  Universal  Biographical  Di&ionary,  by 
James  Hardie.  Four  volumes,  o£tavo.  New 
York,  1805. 

The  Portfolio.  Forty-seven  volumes,  o&avo  (four 
series).  Philadelphia,  1801—1827,  contains  a 
number  of  Revolutionary  portraits,  which  are 
the  only  ones  obtainable  of  these  individuals. 
The  best  of  these  portraits  are  those  en- 
graved by  David  Edwin. 

The  Polyanthos.  Eleven  volumes  ;  seven  in  sixteen- 
mo, and  four  in  o&avo.  Boston,  1806-1814. 

The  Anale&ic  Magazine  and  Naval  Chronicle. 
Sixteen  volumes,  oftavo.  Philadelphia,  1813- 
1820. 

Deleplaine's  Repository  of  the  Lives  and  Portraits 
of  distinguished  American  characters.  Three 
parts,  eighteen  portraits,  quarto.  Philadelphia, 
1815-1818. 

Sanderson's  Biography  of  the  Signers  to  the  Dec- 
laration of  Independence.  Nine  volumes,  oc- 
tavo. Philadelphia,  1820— 1827.  With  plates 
drawn  and  engraved  by  J.  B.  Longacre,  after 
paintings  by  Stuart,  Benjamin  West,  Copley, 
Pine,  Earle,  Martin,  Vanderlyn,  and  others. 

The  National  Portrait  Gallery  of  Distinguished 
Americans.  Four  volumes,  quarto.  Phila- 
delphia, 1834-1839.  The  plates  are  engraved 

41 


THE  PORTRAITURE  OF  THE 

by  J.  B.  Longacre,  E.  Prudhomme,  E.  Mac- 
kenzie, J.  W.  Paradise,  T.  B.  Welsh,  and 
Asher  B.  Durand. 

A  series  of  original  portraits  and  caricature  etch- 
ings by  the  late  John  Kay.  Two  volumes, 
quarto.  Edinburgh,  1838.  These  prints, 
which  are  etched  and  stippled  in  a  hard, 
painstaking  manner,  were  executed  some  fifty 
years  before  the  date  of  this  publication. 
This  work  contains  about  a  dozen  portraits 
which  relate  more  or  less  remotely  to  Ameri- 
can Revolutionary  History. 

From  the  "  Columbiad "  of  Joel  Barlow, 
published  in  1 806,  the  "  extra  illustrator  "  may 
abstract  a  fine  portrait  of  the  author,  provided 
he  has  no  compunctions  of  conscience  in  de- 
stroying a  book  which  at  the  time  it  was  issued 
was  claimed  to  be  the  most  splendid  volume 
that  had  ever  emanated  from  the  American 
press.  The  engraving  is  by  A.  S.  Smith,  after 
the  painting  by  Robert  Fulton,  to  whom  the 
volume  is  inscribed.  The  original  copper  of 
the  Barlow  portrait  is  now  in  possession  of 
Marshall  C.  Lefferts,  Esq.,  of  this  City — and 
is  still  in  good  condition. 

The  following  portraits,  which  are  note- 
worthy on  account  of  their  rarity  or  their  su- 
perior quality  as  engravings,  I  am  not  able  to 
trace  to  any  original  bibliographic  source,  and 

4* 


AMERICAN  REVOLUTIONARY  WAR 

am  therefore  constrained  to  regard  the  most  of 
them  as  independent  creations,  homeless  wan- 
derers through  the  realm  of  prints : 

COMTE  DE  VERGENNES.     Folio.     By  C.  Bor- 

[vic  d'apres  nature.     A  fine  line  engraving. 
ALEXANDER    HAMILTON.      Folio.      Painted 
by   Walter    Robertson,    engraved  by    George 
Graham   for    James    Rivington,    New   York, 
1796. 

GILBERT  DE  MOTTIER  DE  LA  FAYETTE. 
Quarto.  Pitou  sculp.  Fine  engraving  in  pure 
stipple.  Published  by  Le  Vachez,  Paris. 

His  EXCELLENCY  ELBRIDGE  GERRY,  LL.D., 
Governor  of  Massachusetts.  Folio.  Mezzo- 
tint. Boston.  Engraved  by  J.  R.  Smith  and 
published  July  4th,  1 8 1 1 . 

GENERAL  GATES.  Large  quarto,  in  oval. 
Engraved  by  Tiebout  after  Gilbert  Stuart. 

SIR  HENRY  CLINTON.  Small  oval,  printed 
in  red  ink.  Engraved  by  F.  Bartolozzi  after 
J.  Smart. 

CHARLES  ASGILL.  Capitaine  des  Gardes  du 
Roi  d'Angleterre.  Large  octavo.  Line  en- 
graving. Loraine  del.  Chevillet  sculp. 

LAFAYETTE.  Quarto.  Published  by  B.  Tan- 
ner, 14  South  8th  Street,  Phila.  Engraved  by 
B.  Tanner  from  a  lithographic  print  published 
in  Paris,  1818. 

43 


THE  PORTRAITURE  OF  THE 

SIR  GUY  CARLETON,  a  fine  steel  engraving, 
octavo  (oval),  in  an  ornamental  frame,  pub- 
lished by  I.  Bew,  Paternoster  Row,  London, 
1782.  There  is  another  good  portrait  of  Carle- 
ton,  a  small  oval  in  square,  published  by  J. 
Walker,  London,  1783. 

THE  HONORABLE  TIMOTHY  PICKERING,  a 
small  quarto  print,  engraved  by  J.  B.  Long- 
acre  from  a  miniature  by  G.  Catlin.  A 
small  square  picture  within  a  very  elaborately 
engraved  border.  The  portrait  is  engraved  in 
stipple  and  the  border  in  line. 

THE  HONORABLE  BROCKHOLST  LIVINGSTON. 
This  is  a  beautiful  octavo  print,  drawn  by  Mar- 
tin and  engraved  by  Prudhomme.  The  oval 
portrait  is  set  in  a  richly  engraved  miniature 
frame,  which  rests  on  a  pile  of  rocks  and  is  sur- 
mounted by  an  eagle  holding  the  scales  of 
Justice  and  a  crossed  sword  and  pike  bearing 
a  liberty  cap.  I  have  met  with  but  a  single 
copy  of  this  print,  which  was  published  by  J. 
Martin,  19  Warren  Street,  New  York,  prob- 
ably shortly  after  Livingston's  death  in  1823. 

NATHANIEL  GREENE,  Major  General  in  the 
American  Armies.  A  patriot,  a  hero  and  a 
friend.  Peale,  pinxit  Philadelphia.  Chevillet 
Sculpsit. 

A  folio  print  in  pure  line.     The  head  of 


AMERICAN  REVOLUTIONARY  WAR 

Greene  is  in  a  small  oval  medallion  supported 
on  the  shaft  of  a  monument  by  figures  which 
symbolize  War  and  Religion,  over  the  first  of 
which  waves  the  palm  tree  of  victory  and  over 
the  other  extends  the  olive  branch  of  peace. 
This  is  as  good  an  example  as  could  be  selected 
to  represent  a  class  of  Revolutionary  portraits 
whose  painters  delighted  in  imagery  and  de- 
voted more  space  to  it  upon  their  canvases  than 
to  the  portrait  itself. 

JOHN  PAUL  JONES.  A  small  square  por- 
trait published  in  1782.  Engraved  by  J.  M. 
Moreau  le  Jeune,  one  of  the  masters  of  his  art 
in  France.  There  are  a  number  of  fine  por- 
traits of  the  Commander  of  the  "  Bon  Homme 
Richard,"  among  them  a  folio  mezzotint  sup- 
posed to  be  engraved  by  R.  Brookshaw,  bears 
the  following  title : 

JOHN  PAUL  JONES, 

Commander  of  a  Squadron  in  the  Service  of  the 
THIRTEEN  UNITED  STATES  OF  NORTH  AMERICA,  1779. 

The  best  known  of  all  the  portraits  of  Paul 
Jones  is  the  large  quarto  line  engraving  with 
border  which  represents  him  on  the  deck  of  his 
battered  vessel  during  the  engagement  of  the 
"  Bon  Homme  Richard  "  with  Her  Majesty's 
Ship  of  War  "  Serapis,"  Captain  Pierson, 

45 


THE  PORTRAITURE  OF  THE 

September    22d,   1779.     "  Defsine  par  C.  Vic 
Notte  "  and  "  Grave  par  Carl  Guttenburg." 

Of  JOSEPH  BRANDT,  or  THANDANEGA,  the 
Mohawk  Chief  and  British  ally,  to  whom  has 
been  ascribed  the  massacre  of  the  inhabitants 
and  destruction  of  the  beautiful  village,  "  on 
Susquehanna's  side  fair  Wyoming,"  embalmed 
in  song  by  the  poet  Campbell,  there  exists  a 
fine  and  rare  folio  mezzotint  after  Romney. 
Of  his  contemporary  among  the  aborigines, 
Red  Jacket,  alias  Sagryuwhahad,  or  Keeper- 
awake,  Chief  of  the  Seneca  Indians,  there  is, 
as  far  as  I  am  aware,  only  a  modern  engraving. 
A  portrait  of  Brandt  in  the  London  Magazine, 
1776,  is  described  as  being  from  an  original  in 
the  possession  of  James  Boswell,  Esq.,  which 
is  rather  an  unsuspected  ownership  for  a  picture 
of  an  American  Indian.  The  orthography  of 
his  polysyllabic  name  appears  to  have  varied 
with  each  picture  that  was  made  of  this  noted 
chieftain.  Upon  this  one  of  Boswell's  it 
reads  "  Thayendaneken,"  while  upon  the  Rom- 
ney picture  the  title  runneth  in  this  wise, 
"  Tayadaneega." 

Of  the  larger  prints  relating  to  the  Amer- 
ican Revolution,  the  Washington  Family,  by 
Savage,  is  widely  known.     Not  so  familiar  to 
46 


AMERICAN   REVOLUTIONARY  WAR 

the  collector  (for  they  have  long  been  scarce 
prints)  are  the  noble,  whole-length  mezzo- 
tint portraits  in  folio  by  Valentine  Green  of 
Henry  Laurens,  Esq.,*  first  President  of  the 
American  Congress,  and  of  General  Wash- 
ington, after  the  painting  by  J.  Trumbull,  Esq., 
of  Connecticut,  1780,  from  the  original  picture 
in  the  possession  of  M.  de  Neufville  of  Am- 
sterdam. There  are  a  number  of  mezzotint 
engravings  of  a  size  suitable  for  framing,  of 
which  these  are  prototypes — well  worthy,  as 
fine  examples  of  graphic  art  as  well  as  for  their 
historical  interest,  to  hang  upon  the  library 
wall  of  an  American  bibliophile.  Conspicuous 
among  them  are  the  mezzotints  by  Valentine 
Green  of  his  namesake,  General  Greene,  and  of 
Hugh  Earl  Percy,  he  of 

"  the  high  born  race  " 
who 

"  Fought  for  King  George  at  Lexington 
A  Major  of  Dragoons  " 

and  the  exceeding  rare  mezzotint  by  Charles 
Willson  Peale,  after  his  own  picture  of  Wash- 

*Inscription  upon  the  plate:  "Henry  Laurens,  Esq.,  President  of 
the  American  Congress,  1778.  Published  Oft.  I,  1782  by  F.  Stock- 
dale,  Bookseller,  Picadilly,  London.  Painted  by  J.  F.  Copley,  R.A. 
Engraved  by  V.  Green,  mezzotint  engraver  to  his  Majesty  and  to  the 
Elector  Palatine."  Size,  22^  x  16  (upright). 

47 


THE  PORTRAITURE  OF  THE 

ington,*  at  Princeton,  which  I  have  taken  for 
a  frontispiece  mainly  for  the  reason  that,  ac- 
cording to  Mr.  Baker,  it  is  the  first  authentic 
portrait  engraved  from  an  original  picture  of 
the  man  who  was  "  first  in  war,  first  in  peace, 
and  first  in  the  hearts  of  his  countrymen."  The 
publication  price  of  this  print  was  two  dollars. 
The  soft  and  beautiful  mezzotint  by  Savage, 
engraved  from  his  own  portrait  of  Washington, 
painted  at  the  request  of  the  corporation  of  the 
University  of  Cambridge,  in  Mass,  (size  ij}4 
x  14),  is  a  charming  and  desirable  picture.  A 
badly  executed  mezzotint  copy  (in  reverse)  of 
this  engraving  was  made  by  William  Hamlin, 
of  Providence,  R.  I.  This  plate,  according 
to  Baker,  is  still  in  use,  although  worn  to  the 
quick.  Dunlap  states  that  these  engrav- 
ings, although  inscribed  with  Savage's  name  as 
engraver,  were  really  engraved  by  David  Ed- 
win, who  was  his  apprentice,  as  was  also  John 
Wesley  Jarvis.  Mr.  Baker  contradicts  this  state- 
ment of  Dunlap  and  adduces  quite  conclusive 
proof  that  Edwin  was  not  the  engraver.  As  far 

*This  picture,  a  full  length,  was  painted  in  1779,  when  Washing- 
ton was  in  the  47th  year  of  his  age.  It  "  was  placed  in  the  Council 
Chamber  in  the  State  House  at  Phila.,  where  it  remained  until  Sept., 
1781,  when  it  was  totally  destroyed  by  some  persons  who  broke  into 
the  building,  whether  from  malice  or  a  mere  spirit  of  destruction  does  not 
appear." — W.  S.  Baker,  in  "The  history  of  a  rare  Washington  print." 

48 


0 1 1 O1R  <U  I"',     W  A  S  H I N  C •  T  'O  N  .  E  S  Q  " 
President  of  Ihe  Unilet!  Strifes    of  America 


AMERICAN  REVOLUTIONARY  WAR 

as  my  knowledge  extends  there  are  no  other 
engravings  in  existence,  which  are  claimed  to 
be  by  Savage,  besides  the  Washington  Family 
and  the  large  and  small  portraits  in  stipple  of 
Washington,  except  a  portrait  of  General  Knox, 
LL.D.  An  oval,  5  1-16x4  3~J6,  stipple,  with 
remarkably  close  dotting  in  the  face,  signed 
E.  Savage,  pinxt.  and  sculpt.  Dunlap  states 
emphatically  that  Savage  could  not  handle  the 
graver's  tool.  A  copy  in  octavo  size  of  the 
Savage  mezzotint  Washington  was  engraved  in 
line  by  I.  Scoles,  and  appears  in  some  of  the 
copies  of  the  American  edition  of  W.  Winter- 
botham's  "View  of  the  United  States  of  Amer- 
ica," New  York,  1796. 

This  book  of  Winterbotham's,  like  many 
of  its  kind  and  degree,  would  have  no  saleable 
value  whatever  but  for  its  portraits,  especially 
the  Washington,  which  belongs  in  the  first 
volume.  It  is  a  fairly  good  engraving  by  one 
of  America's  early  engravers,  after  a  popular 
painting,  and  therefore  could  not  hope  to  es- 
cape the  eagle  eye  of  the  Grangerite,  conse- 
quently Winterbotham's  America  in  perfect 
condition  has  become  of  late  years  a  very 
scarce  book.  In  my  hunt  for  it  I  found  the 
copies  in  two  of  our  great  city  libraries  im- 
perfect. In  one  the  first  volume  had  been 

49 


THE  PORTRAITURE  OF  THE 

supplied  from  the  English  edition,  which  con- 
tains an  entirely  different  and  comparatively 
worthless  print.  In  the  other  all  four  volumes 
bore  the  New  York  imprint,  but  lo !  the  salt 
had  lost  its  savor,  and  the  portrait  belonging  to 
the  first  volume  was  lacking !  This  case  is 
selected  as  a  typical  one  of  the  hazards  of  ex- 
istence to  which  a  multitude  of  books  of  an 
historical  or  biographical  character  are  hourly 
exposed.  The  gems  or  semi-precious  stones  of 
engraving  with  which  their  pages  are  bedecked 
are  liable  to  prove  their  early  ruin.  Let  us  not, 
however,  censure  too  harshly  the  iconophile 
who  lifts  his  ruthless  hand  against  these  books 
"adorned  with  sculptures."  In  cases  not  a 
few  he  saves  from  destruction  all  that  there 
is  in  them  worth  preserving — and  the  moral 
of  it  is  that  Art,  even  in  its  cruder  manifesta- 
tions, may  be  long,  though  the  life  of  the  book 
which  harbors  it  be  so  short  that  we  are  forced 
to  inscribe  upon  its  tombstone  the  melancholy 
line :  "  Surely  thy  thread  of  life  was  but  a 
thrumme." 

Since  the  above  was  penned  one  of  the  in- 
stitutions above  referred  to  has  secured  a  copy 
of  Winterbotham's  "  View."  Printed  by  Tie- 
bout  and  O'Brien  for  John  Reid,  Bookseller 
and  Stationer,  New  York,  1796 — which  has  an 

s° 


3&ASJT  A<B2iASH!>. 


.Siw.iriCw.in.  18 


entirely  different  portrait  of  Washington  in  the 
first  volume — an  oval,  with  the  figure  in  mil- 
itary dress — engraved  by  Rollinson.  The  en- 
graving by  Scoles,  that  had  led  me  such  a  merry 
dance  around  the  city,  was  again  conspicuous 
by  its  absence.  I  am  glad  to  be  able  to  say 
that  I  finally  cornered  this  elusive  print  in  one 
of  the  alcoves  of  The  Society  Library. 

One  William  Rollinson,  whom  I  presume 
to  have  been  the  engraver  above  named,  is 
mentioned  by  Dunlap,  and  a  fad:  in  his  history 
is  given  which  certainly  confers  a  unique  dis- 
tinction upon  the  name  of  this  artist.  He  was 
employed  by  General  Knox,  first  Secretary  of 
War  under  the  Federal  Government,  to  chase 
the  arms  of  the  United  States  upon  a  set  of 
gilt  buttons  for  the  coat  worn  by  General 
Washington  on  the  day  of  his  inauguration  as 
President. 

The  beautiful  mezzotint  (size  14^x11^) 
of  Lady  Ackland  and  her  children,  engraved  by 
Samuel  Cousins  after  a  painting  by  Sir  Thomas 
Lawrence,  is  probably  the  portrait  of  a  descend- 
ant of  the  Lady  Ackland,  and  not  the  lady 
herself,  whose  name  is  linked  with  that  of  the 
Baroness  Riedesel  in  our  Revolutionary  Annals. 
These  women  furnish  two  conspicuous  ex- 
amples of  the  pathetic  facl:  that  in  those  long 


THE  PORTRAITURE  OF  THE 

years  of  fiery  trial  that  tested  the  fortitude 
and  patience  of  the  men  of  the  nation,  the 
difficulties  and  dangers  of  the  hour  were  un- 
complainingly shared  by  gently  nurtured  self- 
sacrificing  women. 

The  story  of  war  and  conjugal  devotion 
which  hangs  upon  the  picture  of "  Harriett 
Strangways  Lady  Ackland "  contains  enough 
elements  of  romance  to  fill  half  a  dozen 
novels.  This  lady  accompanied  her  husband 
to  Canada  in  the  year  1776  and  followed 
him  through  two  campaigns,  "  during  which," 
writes  General  Burgoyne,  "  she  underwent 
such  fatigue  and  distress  as  female  fortitude 
was  thought  incapable  of  enduring."  An 
incident  in  her  experience  during  the  war  is 
commemorated  by  a  large  oblong  mezzotint, 
engraved  by  Robert  Pollard,  and  published  in 
London  in  1784,  which  is,  as  might  be  sup- 
posed, an  entirely  imaginary  composition. 
Major  Ackland  had  been  wounded  and  taken 
prisoner  in  the  action  between  Burgoyne  and 
Gates,  near  Stillwater-on-the-Hudson,  Octo- 
ber 7,  1777,  and  his  wife,  so  runs  the  inscrip- 
tion on  the  Pollard  plate,  "desirous  of  attending 
him  in  his  captivity,  with  a  letter  from  Gen- 
eral Burgoyne  to  General  Gates,  accompanied 
by  the  Rev.  Mr.  Brudenell  (Chaplain  to  the 


AMERICAN   REVOLUTIONARY  WAR 

British  artillery),  who  carried  a  flag  of  truce,  a 
female  servant  and  her  husband's  valet,  rowed 
down  the  Hudson  in  an  open  boat  to  the 
American  camp,  but  night  coming  on  before 
she  reached  their  outposts,  the  guards  on  duty 
refused  to  allow  her  and  her  company  to  land, 
and  they  were  kept  all  through  the  night  on 
the  water."  In  the  morning  she  was  received 
by  General  Gates  and  restored  to  her  husband 
with,  says  General  Burgoyne,  « that  politeness 
and  humanity  her  sex,  quality  and  virtues  so 
justly  merited."  The  romance  of  the  story 
does  not  end  here.  After  his  return  to  Eng- 
land Major  Acldand,  in  a  dispute  with  Lieu- 
tenant Lloyd,  defended  the  Americans  against 
the  charge  of  cowardice,  and,  says  the  historian, 
gave  him  the  lie  direcl:.  A  duel  followed,  in 
which  Major  Ackland  was  shot  through  the 
head.  Lady  Harriett  in  consequence  lost  her 
reason  for  two  years.  She  afterwards,  however, 
married  Mr.  Brudenell,  her  escort  in  her  peril- 
ous pursuit  of  her  husband. 

There  is  a  fine  portrait  of  this  lady,  one 
of  Major  Ackland,  and  one  of  Mr.  Brudenell, 
painted  by  Sir  Joshua  Reynolds,  of  which 
there  are  small  mezzotint  engravings  by  S.  W. 
Reynolds.  The  spirited  pictures  of  Colonel 
Tarleton  and  Lord  Amherst,  by  the  same  en- 

53 


THE  PORTRAITURE  OF  THE 

graver,  after  the  same  great  painter,  are  nat- 
urally associated  with  the  three  prints  above 
mentioned,  as  they  are  all  to  be  found  in  the 
published  collection  of  engravings  after  paint- 
ings by  Sir  Joshua  Reynolds.  As  there  have 
been  several  editions  of  this  work,  ordinary  and 
partly  worn-out  impressions  of  these  plates 
are  still  readily  obtainable. 

The  original  painting  by  Sir  Joshua  Rey- 
nolds of  Colonel  Tarleton  hangs  in  the  British 
Museum  and  is  considered  one  of  this  artist's 
best  works.  A  copy  delicately  printed  in 
colors  of  the  large  (20^  x  15^)  mezzotint 
after  this  picture,  engraved  and  published  by 
J.  R.  Smith,  London,  October  n,  1782,  for- 
merly in  the  possession  of  the  late  Evert  A. 
Duyckinck,  is  now  the  property  of  a  connection 
of  the  family  in  this  city.  Plain  impressions 
of  this  engraving  are  of  uncommon  occurrence, 
and  in  this  state  this  copy  may  be  unique. 

A  fitting  pendant  to  this  picture  is  the  mez- 
zotint of  about  the  same  size  and  colored  in 
the  same  artistic  manner  of  the  Marquis  de  la 
Fayette,  "Commandant  General  de  la  Garde 
Nationalle  Parisienne — Dedie  aux  Citoyens 
Soldats — Peint  et  Grave  par  PL.  De  Bucourt, 
Peintre  du  Roy — F  1790." 

I   mention    these   two    prints   as  exception- 

54 


AMERICAN  REVOLUTIONARY  WAR 

ally  desirable  pictures.  They  are  fine  works  of 
art  as  well  as  historically  important  engravings. 

Of  Brigadier-General  Simon  Fraser,  who  fell 
at  the  head  of  an  advanced  corps  of  the  British 
Army,  October  7,  1777,  in  the  same  action  in 
which  Major  Ackland  was  wounded,  there  is  a 
good  mezzotint  engraving  by  James  Watson, 
published  June  i,  177  8,  size  13  x  10^2  inches. 

Mezzotinto  engraving  appears  to  have  been 
in  vogue  at  this  period.  A  number  of  por- 
traits of  our  Revolutionary  officers,  some  of 
which  are  colored,  were  issued  by  London  pub- 
lishers between  the  years  1775  and  1778.  They 
include  the  following  personages  : 

GENERAL  WASHINGTON.  C.  Shepherd    1775 

GENERAL  CHARLES  LEE.  C.  Shepherd    1775 

JOHN  HANCOCK  (oval).  C.  Shepherd     1775 

JOHN  HANCOCK  (square).  C.  Shepherd    1775 

GENERAL  ISRAEL  PUTNAM.  C.  Shepherd    1775 

COLONEL  ARNOLD.  Thomas  Hart  1776 

COMMODORE  HOPKINS.  Thomas  Hart  1776 

ADMIRAL  HOPKINS.  Thomas  Hart  1776 

MAJOR  ROBERT  ROGERS.  Thomas  Hart  1776 

GENERAL  JOHN  SULLIVAN.  Thomas  Hart  1776 

GENERAL  DAVID  WORCESTER.  Thomas  Hart  1776 

GENERAL  HORATIO  GATES.  John  Morris    1778 

SIR  WILLIAM  HOWE.  John  Morris    1778 

RICHARD  LORD  HOWE.  John  Morris    1778 

and  probably  others  that  have  not  come  under 
my  observation.  All  these  prints  are  of  folio 

55 


THE  PORTRAITURE  OF  THE 

size  except   those    of  Admiral   Hopkins    and 
Richard  Lord  Howe,  which  are  quarto.     The 
full  titles  of  these  prints  will  be  found  in  the 
Appendix. 

The  companion  pictures  of  Washington, 
Franklin  and  Lafayette,  size  13^  x  10  inches, 
from  the  Gallerie  d'Hommes  Illustre  Vivans, 
engraved  in  pure  line  and  enclosed  in  rich  bor- 
ders, are  prints  worthy  to  be  framed.  The  por- 
trait of  Washington  was  engraved  by  Chevillet 
from  a  design  by  Bonnieu  after  a  picture  fur- 
nished by  M.  le  Marquis  de  la  Fayette.  That 
of  Franklin  is  by  the  same  engraver,  after  a 
drawing  by  Bonnieu  after  the  bust  by  M. 
Houdon.  The  bust  of  Franklin  by  Houdon 
and  the  painting  by  Duplessis*  appear  to  have 
been  the  favorite  French  models  for  heads  of 
Franklin.  The  portrait  of  Lafayette  above  re- 
ferred to  was  also  drawn  by  Bonnieu,  "  after 
a  miniature." 

The  most  interesting  of  the  portraits  of 
Washington  to  a  New  York  collector  is  the 
full-length  figure  standing  on  a  pedestal  in  front 
of  Bowling  Green,  with  a  view  of  the  lower 
part  of  Broadway,  the  old  fort  and  the  bay  as 
a  background,  engraved  by  Cornelius  Tiebout. 

*One  of  the  numerous  portraits  of  Franklin  by  Duplessis  now  hangs 
in  the  Lenox  Library.  It  is  the  property  of  the  Hon.  John  Bigelow, 
who  secured  it  in  France  in  1867. 

56 


AMERICAN   REVOLUTIONARY  WAR 

It  is  thus  described  by  Mr.  W.  S.  Baker,  No. 

407: 

WASHINGTON.  Tiebout.  Full  figure  in  uniform 
upon  a  pedestal  in  the  middle  distance  of  the  design. 
In  the  right  hand  an  open  scroll  inscribed  "Friends 
and  Fellow  Citizens  "  ;  the  left,  [hand  rests]  upon  a 
sword  at  his  side.  Army  and  navy  emblems  on  each 
side  of  the  pedestal,  upon  which  is  the  title.  In  the 
immediate  foreground,  in  front  of  the  statue,  a  large 
funeral  urn  upon  a  pedestal,  on  which,  in  a  tablet, 
"  Sacred  to  Patriotism"  In  the  background,  a  view 
of  Bowling  Green,  New  York.  Hght.,  i6i£  inch, 
width,  io^|  inch.  Designed  and  drawn  by  Charles 
Buxton.  Tiebout,  sculp. 

To  this  description  of  the  portrait  we  add 
the  following  of  the  border,  furnished  by  a  col- 
lector who  is  so  fortunate  as  to  possess  a  -per/eft 
copy  of  this  exceedingly  rare  print : 

An  arch  supported  by  a  fluted  column  on  each 
side,  and  in  front  and  exterior  to  each  column  an 
obelisk,  the  right  having  the  word  "  Independence  "  on 
the  base,  and  in  an  oval  medallion,  about  midway,  a 
standing  figure  of  Britannia,  leaning  on  an  anchor  and 
holding  a  British  flag,  lowered,  while  opposite  her  is  a 
winged  boy,  nude,  holding  up  an  American  flag.  On 
the  left  obelisk,  at  the  base,  is  the  word  "  Liberty" 
and  in  a  medallion,  opposite  the  other,  a  female,  seated 
and  holding  an  American  flag. 


57 


THE  PORTRAITURE  OF  THE 

Under  the  top  of  the  arch  in  the  tympanum  (or  the 
space  between  the  arc  and  the  chord)  an  eagle  holds 
in  its  beak  the  ends  of  a  belt,  on  the  front  of  which 
are  sixteen  plates,  with  the  names  of  the  first  six- 
teen States,  down  to  Tennessee,  inclusive. 

Whole  heighth,  24^  inches. 

width,    21^  

Underneath  : 

41  This  Plate  is  with  due  Respect  Inscribed  to  the 
Congress  of  the  United  States  by  Chas.  Smith." 

New  York.     Published  by  C.  Smith,  1798. 

The  only  known  copy  of  this  print  on  satin, 
the  one  from  which  our  reproduction  has  been 
made,  is  owned  by  Mrs.  Charles  C.  Worthing- 
ton,  of  New  York,  and  is  of  peculiar  interest. 
It  formerly  was  included  among  the  treasures 
of  Arlington,  the  well-known  mansion  of  the 
Lee  family  of  Virginia.  The  intimate  relation- 
ship between  the  Lee,  Custis  and  Washington 
families  renders  it  almost  certain  that  this  satin 
impression  was  a  special  copy  presented  to 
Washington  himself. 

During  the  late  war,  while  Arlington  was 
occupied  by  the  United  States  troops,  the  con- 
tents of  the  house  became  the  spoils  of  war. 
Several  relics,  including  this  print,  came  into 
the  possession  of  the  late  Edward  L.  Hedden, 
Collector  of  the  Port  of  New  York.  At  the 


AMERICAN  REVOLUTIONARY  WAR 

close  of  the  war  Mr.  Hedden  returned  these 
articles  to  General  Robert  E.  Lee,  expressing  a 
wish  to  have  the  Washington  print,  provided 
General  Lee  would  consent  to  part  with  it. 
He  received  in  reply  the  following  courteous 
letter : 

LEXINGTON,  VA.  23  March  1866. 
My  dear  Sir  : 

The  three  articles  taken  from  Arlington  during  the 
occupancy  by  the  U.  S.  soldiers,  which  accompanied 
your  note  of  the  loth  inst.,  have  been  rec'd. 

I  am  much  obliged  to  you  for  restoring  them  to  me. 
As  you  express  a  desire  to  possess  the  picture  of 
Washington,  printed  on  satin  in  1798, 1  take  pleasure 
in  presenting  it  to  you. 

Very  respt.  your  obedient, 

R.  E.  LEE. 
Mr.  Edw'd  L.  Hedden. 

On  the  death  of  Mr.  Hedden  the  print  and 
letter  came  into  the  possession  of  his  daughter, 
Mrs.  Charles  C.  Worthington. 

In  1795  Tiebout  engraved  in  stipple  a  fine 
head  of  John  Jay  after  a  painting  by  Gilbert 
Stuart,  which  was  published  in  London,  whither 
Tiebout  had  gone.  According  to  Dunlap,  he  was 
the  first  American  to  study  engraving  abroad. 

A  more  attractive  embellishment  to  the  clos- 

59 


THE  PORTRAITURE  OF  THE 

ing  lines  of  this  essay  cannot  be  selected  than 
this  portrait  by  Tiebout  of  the  Chief  Justice  of 
the  United  States. 

A  review  of  the  foregoing  pages  would 
doubtless  reveal  the  fad:  that  prints  of  impor- 
tance have  been  overlooked,  but,  as  distinctly 
stated  at  the  outset,  I  did  not  undertake  to  con- 
strue!: a  complete  Hand-book  of  Revolution- 
ary Portraits.  I  trust,  however,  that  enough 
has  been  set  down,  and  in  proper  order,  to  con- 
vey a  general  idea  of  the  subject,  and  to  acquaint 
the  novice  in  American  print  collecting  with  a 
class  of  engravings  which  is  certain  to  attract 
more  and  more  of  his  attention  as  year  after 
year  the  body  of  it  obtainable  by  him  grows 
small  by  degrees  and  beautifully  less. 

That  man  is  to  be  envied  who,  if  covetous 
of  future  remembrance,  chanced  to  live  in  an 
age  that  produced  one  of  the  great  artists  of  all 
time,  and  was  so  fortunate  as  to  be  immortal- 
ized by  the  brush  or  the  graver  of  a  Holbein, 
a  Vandyke,  a  Rembrandt,  or  a  Sir  Joshua  Rey- 
nolds. The  world  would  have  willingly  let  die 
in  a  few  short  years — nay,  months — the  name 
of  Burgomaster  Six  if  the  needle  of  the  great 
Dutch  artist  had  not  written  it  with  such  pre- 
cision in  characters  that  will  last  as  long  as  art 
endures. 

60 


AMERICAN  REVOLUTIONARY  WAR 

From  this  aesthetic  point  of  view  our  Revolu- 
tionary heroes  were  far  more  fortunate  than 
those  of  the  Civil  War.  With  the  exception 
of  the  large  engraved  portraits  by  Marshall,  and 
a  few  etchings  by  various  hands,  the  collector  of 
engravings  illustrating  the  Rebellion  period  will 
look  in  vain  for  prints  of  any  artistic  value 
whatever,  for  the  good  and  sufficient  reason 
that  copper  and  steel  plate  engraving,  pure  and 
simple,  was  by  that  time  fast  becoming  a  lost 
and  unpracticed  art.  The  mechanical  repro- 
ductive processes,  whose  name  is  now  legion, 
had  already,  by  the  middle  of  this  century, 
begun  to  exercise  their  demoralizing;  influence. 

o  o 

The  few  competent  engravers  of  the  old  school 
that  were  left  (with  only  here  and  there  a  stray 
exception)  were  absorbed  by  and  engaged  in 
perfunctory  work  side  by  side  with  the  turning 
lathe  in  the  shops  of  the  bank-note  engraving 
companies.  Aside  from  a  limited  number  of 
wood  engravings,  there  is  nothing  so  devoid  of 
artistic  feeling  and  utterly  commonplace  as  the 
graphic  work  of  this  period,  and  there  are  as  yet 
unhappily  no  signs  of  a  genuine  revival.  There 
still  lingers  on  a  corporal's  guard  of  this  little 
band  of  veterans  whose  hands  have  not  lost 
their  cunning,  but  I  doubt  exceedingly  if,  with- 
in the  confines  of  this  broad  land  to-day 
there  is  an  artist  capable  of  producing  engrav- 

61 


THE  PORTRAITURE  OF  THE 

ings  which  will  compare  favorably  with  the 
"  Ariadne "  or  "  Musidora  "  of  Durand,  the 
numerous  portraits  by  the  same  master,  or 
those  by  David  Edwin,  Peter  Maverick,  Prud- 
homme,  Burt,  and  their  fellows. 

A  word  in  conclusion  in  reference  to  a  few 
of  the  early  American  engravers  may  not  be 
out  of  place. 

NATHANIEL  HURD.  Boston,  1730-1777. 
Mr.  Dunlap  asserts  that  Hurd  was  the  first 
engraver  in  this  country.  This  statement 
should,  I  think,  be  qualified  by  the  addition 
of  the  words  of  portraits.  This  self-instructed 
engraver  executed  a  miniature  likeness  of  the 
Rev.  Dr.  Sewall,  minister  of  the  Old  South 
Church  in  Boston,  "  in  the  linear  style,"  in 
1764.  A  few  other  examples  of  his  work  on 
copper  are  in  existence,  besides  the  numerous 
book-plates  he  designed  and  engraved.  Of 
these  Mr.  Charles  Dexter  Allen  furnishes  a  list 
of  thirty  plates  signed  by  Hurd  and  of  four- 
teen unsigned,  but  attributed  to  his  hand. 

A  portrait  of  Jonathan  Mayhew,  D.D., 
Pastor  of  the  West  Church  in  Boston  (i2x 
9^),  Richard  Jennys,  Jun.,  pinxit  et  fecit, 
"printed  and  sold  by  Nat  Hurd,  Engraver  on 
ye  Exchange,"  is  one  of  the  earliest  examples 


AMERICAN  REVOLUTIONARY  WAR 

of  mezzotinto  engraving  in  this  country — if 
I  am  not  mistaken  in  the  supposition  that  Jen- 
nys was  an  Englishman  who  visited  Boston 
about  the  middle  of  the  last  century,  and  was 
for  a  time  in  Hurd's  employ. 

PAUL  REVERE.  Boston,  1734-1818.  One 
of  his  earliest  copper-plate  engravings  was  a 
portrait  of  his  friend,  the  identical  Dr.  May- 
hew  referred  to  above.  Considering  the  paucity 
of  native  artistic  productions  so  early  in  the 
seventeenth  century,  this  repetition  is  an  indi- 
cation of  marked  significance,  of  the  promi- 
nence and  popularity  of  this  New  England 
divine. 

In  addition  to  the  famous  engravings  to 
which  reference  has  already  been  made,  Revere 
produced  the  following  political  caricatures, 
which  appeared  in  The  Royal  American  Mag- 
azine : 

"  The    Able  Doctor,  or,  America   Swallowing 

the  Bitter  Draught." 
"The  Mitred  Minuet"  (on  title-page,    "The 

Dancing  Bishops"). 
"  America   in    Distress — or,  a   Certain  Cabinet 

Junto."* 
The    remaining   prints    of  special    interest 

*These  are  probably  two  titles  of  the  same  print,  but  these  may 
have  been  two  plates. 

63 


THE  PORTRAITURE  OF  THE 

among  the  twenty-two  engraved  by  Paul  Revere 
and  J.  Callender  in  The  Royal  American  Mag- 
azine are  "  A  View  of  the  Town  of  Boston 
with  several  Ships  of  War  in  the  Harbour," 
"A  conference  held  between  some  Indian  Chiefs 
and  Colonel  Bouquet  in  the  Year  1764,"  "An 
Indian  Gazette,"  and  last,  but  not  least,  the 
portraits  of  the  two  prominent  individuals  who 
were  exempted  by  General  Gage  in  his  pro- 
clamation offering  pardon  to  the  rebels — John 
Hancock  and  Samuel  Adams. 

I  am  without  information  in  regard  to  J. 
Callender,  Revere's  collaborates  in  the  embel- 
lishment of  this  pioneer  magazine.  That  he 
was  an  engraver  of  at  least  as  much  ability  as 
Paul  Revere  the  pages  of  The  Royal  Ameri- 
can Magazine  enable  us  to  judge  for  ourselves. 

Revere  engraved  the  plates,  made  the  press 
and  printed  the  paper  money  ordered  by  the 
Provincial  Congress  of  Massachusetts. 

There  are  four  book-plates  known  which 
bear  Revere's  coveted  signature  (besides  his 
own  "  ex  libris,"  which  is  unsigned,)  namely, 
those  of  Gardiner  Chandler,  David  Greene, 
Epes  Sargent  and  William  Wetmore. 

DAVID  EDWIN.  Philadelphia.  Born  at  Bath, 
England,  in  1776.  Son  of  John  Edwin,  the 
comedian.  It  is  now,  I  believe,  generally  ad- 

64 


AMERICAN  REVOLUTIONARY  WAR 

mitted  that  he  was  one  of  the  best  engravers 
of  his  time,  but  the  times  were  against  him, 
and  he  was  unsuccessful  pecuniarily  as  an  artist. 
It  is  said  that  he  would  have  died  in  poverty 
but  for  the  generosity  of  the  adtress,  Mrs. 
Francis.  Dunlap  pronounced  Edwin  the  first 
good  engraver  of  the  human  countenance  that 
appeared  in  this  country.  His  last  work,  ac- 
cording to  the  same  authority,  was  a  head  of 
his  friend  and  patron,  Gilbert  Stuart,  painted 
by  Mr.  John  Neagle. 

SCOLES,  I.  New  York,  circa  1790.  An  en- 
graver of  little  skill,  nevertheless  quite  the 
equal  of  many  of  his  contemporaries.  Produc- 
tions of  his  graver,  which  are  extremely  valuable 
historically,  though  not  as  works  of  art,  are  to 
be  found  in  The  New  York  Magazine ;  other 
specimens,  which,  unfortunately,  lack  this  re- 
deeming quality,  appear  in  various  publications 
of  the  same  period. 

TRENCH ARD.  Philadelphia,  circa  1785.  A 
poor  designer  and  engraver  of  copper  plates  for 
the  Columbian  and  other  late  eighteenth  cen- 
tury American  publications.  He  also  engraved 
a  few  book-plates  of  fair  execution. 

CORNELIUS  TIE  BOUT.  New  York,  died 
1814.  Began  his  career  as  a  silversmith's  ap- 
prentice in  New  York  about  1790.  In  1796 

65 


THE  PORTRAITURE  OF  THE 

he  went,  as  already  stated,  to  London  for  in- 
struction and  worked  under  the  eminent  en- 
graver, James  Heath.  Examples  of  Tiebout's 
skill  in  book  illustration  are  to  be  found  in  a 
number  of  Scotch  and  English  publications. 
On  his  return  he  selected  Philadelphia  as  his 
place  of  residence,  and  worked  for  Matthew 
Gary  and  other  publishers  of  books.  "After," 
says  Dunlap,  "accumulating  property  he  en- 
gaged in  a  speculation  for  the  manufacture  of 
blacking  and  was  ruined." 

B.  TANNER,  New  York,  1795.  A  pupil 
of  Tiebout.  He  did  much  work  for  publish- 
ers and  engraved  maps. 

PETER  MAVERICK.  New  York,  1780—1831. 
Taught  by  his  father,  Peter  R.  Maverick, 
whom  he  greatly  surpassed  as  an  artist.  He 
was  largely  employed  in  bank-note  engraving. 
A.  B.  Durand  was  his  pupil,  "  and  in  him,"  as 
William  Dunlap  truly  asserts,  "  the  arts  owe 
to  Mr.  Maverick  unbounded  gratitude." 

WILLIAM  HAMLIN.  Providence,  R.  I. ,1772- 
186 — .  The  name  of  this  engraver  does  not 
appear  in  the  Index  to  Dunlap's  "  Arts  of  De- 
sign "  ;  neither  do  I  find  it  in  the  list  which  he 
gives  of  painters  and  engravers,  "  of  whom  his 
limits  will  not  permit  a  more  detailed  notice,  or 
who  have  refused  information,  or,  lastly,  have 

66 


AMERICAN   REVOLUTIONARY  WAR 

passed  into  obscurity."  I  copy  the  following 
note  from  a  sale  catalogue  of  prints,  dated 
New  York,  1868,  which  was  prepared  by  the 
late  T.  H.  Morrell :  "  Hamlin  was  one  of 
our  earliest  American  engravers  and  is  still  liv- 
ing, comparatively  unknown,  at  a  very  advanced 
age  (ninety-six  years  old),  in  Providence,  R.  I." 
SAMUEL  HARRIS.  Boston,  1783-1810.  Ex- 
amples of  this  artist's  work  are  to  be  found  in 
that  rare  and  curious  little  magazine,  "  The 
Polyanthos,"  Boston,  1806-1814,  in  the  sixth 
volume  of  which  appears  a  brief  sketch  of  his 
life,  extracted  from  the  "  Harvard  Lyceum," 
prefaced  by  the  editors  of  the  magazine  with 
the  following  remarks  :  "  Our  readers  will  re- 
quire no  apology  that  we  commence  this  new 
series  of  our  work  with  a  notice  of  the  late 
lamented  Samuel  Harris  when  they  recollect 
that  to  his  genius  and  industry  the  *  Polyan- 
thos,' in  its  infancy,  was  indebted  for  its  graphic 
embellishments."  Mr.  Harris  was  drowned 
on  the  yth  of  July,  1810,  while  bathing  in 
Charles  River.  The  last  engravings  from  his 
hand  in  the  "  Polyanthos  "  show  a  marked  im- 
provement over  those  which  first  appeared, 
and  had  he  not  met  with  an  untimely  death 
Mr.  Harris  would  doubtless  have  become  an 
adept  in  his  art. 

67 


THE  AMERICAN  REVOLUTIONARY  WAR 

Messrs.  SNYDER,  J.  R.  SMITH,  A.  REED  and 
D.  EDWIN  succeeded  Samuel  Harris  as  engravers 
to  the  publishers  of  the  "  Polyanthos."  With 
the  exception  of  Edwin,  whose  work  is  the  most 
artistic,  the  productions  of  these  engravers,  in 
this  magazine,  display  almost  an  equal  degree 
of  facility  in  the  use  of  the  graver. 


68 


NOTES 


NOTES 

Page  17.  ANDRE'S  POEM  OF  THE  Cow  CHACE. 
"  In  the  year  1780  Major  Andre  amused  himself  and 
his  friends  by  writing  this  satirical  poem  of  72  stanzas 
in  3  cantos.  It  was  originally  published  in  4  The 
Royal  Gazette '  by  James  Rivington,  at  the  time 
printer  to  his  Brittanic  Majesty  in  New  York." 

Page  1 8.  THE  MESCHIANZA.  A  medley  (as  the 
name  implies)  of  regatta,  procession,  tournament  and 
ball.  This  fete  champetre  was  given  in  honor  of 
General  Howe,  on  the  eve  of  his  departure  for  Eng- 
land, after  resigning  command  of  the  army.  It  took 
place  in  Philadelphia,  on  Monday,  May  i8th,  1778, 
at  the  Wharton  House  and  Walnut  Grove,  where 
Fifth  and  Wharton  Streets  now  intersect.  A  full  ac- 
count of  this  famous  entertainment — a  splendid  folly, 
as  it  has  been  called — will  be  found  in  the  History  of 
Philadelphia,  by  Thomas  Scharf  and  Thompson. 
Westcott,  Philadelphia,  1884. 

Page  21.  VALENTINE'S  MANUALS.  The  first 
Manual  of  the  Common  Council  of  the  City  of  New 
York  was  published  by  Samuel  J.  Willis,  for  the  years 
1841-42.  From  1842  to  1866  they  were  issued  by 

71 


NOTES 

David  T.  Valentine,  Clerk  of  the  Corporation.  There 
was  no  Manual  for  1867.  In  1868  the  work  was 
revived  by  James  Shannon,  but  was  discontinued  after 
three  years,  the  Manual  for  1870  being  the  last  that 
appeared. 

These  year  books  of  the  Common  Council  contain 
a  great  number  of  lithographic  prints  illustrative  of 
New  York  City  in  ancient  and  modern  times,  and 
also  much  valuable  historical  information.  A  large 
proportion  of  the  printed  matter  in  many  of  the  vol- 
umes is  devoted  to  New  York  local  history. 

Page  22.     Titles  of  the  DOOLITTLE  PRINTS. 

Plate  I.  The  Battle  of  Lexington,  April  19,  1775. 
II.  A  View  of  the  Town  of  Concord. 

III.  The  Engagement  at  the  North  Bridge 

in  Concord. 

IV.  A  View  of  the  South  Part  of  Lexington. 

These  prints  vary  slightly  in  size,  but  are  about 
12  x  S*4  inches. 


APPENDIX 


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3 


LIST  OF  PORTRAITS 

IN    BOOKS    AND    PERIODICALS    PUBLISHED    IN    AMERICA 

CONTAINING    PORTRAITS    RELATING   TO 

THE    REVOLUTIONARY    WAR 


THE  first  Illustrated  Magazine  which 
made  its  appearance  in  this,  or,  as  far  as 
I  am  aware,  in  any  other  part  of  the  Western 
hemisphere  was  The  Royal  American,  published 
by  Isaiah  Thomas  and  Joseph  Greenleaf  in 
"  the  distressed  town  "*  of  Boston,  1774-1775. 
It  contains  only  two  portraits,  engraved  by 
Paul  Revere,  and  reproduced  on  opposite  page. 

Mr.  Samuel  Adams. 

Honble.  John  Hancock,  Esq. 

Portraits    in    the    New    York     Magazine. 
Eight  volumes,  octavo.     1790—1797. 

General  Greene.    Tisdale,  sculp.     1794.    Lau- 

reated  oval  in  square. 

General  Wayne.    Tanner,  sculp.    1797.    Plain 
oval. 

*  The  bill  blockading  the   Port  of  Boston  took  effect  June  1st  of 
this  year. 

75 


APPENDIX 

Massachusetts  Magazine.  Eight  volumes, 
odtavo.  Boston,  1789-1796. 

Hon.  James  Bowdoin     M.  Necker 

Dr.  Franklin  George  Washington 

Lafayette  Benjamin  West 

I  am  doubtful  in  regard  to  this  list,  although 
it  comes  from  a  collection  supposed  to  possess 
a  perfect  copy  of  the  book. 

This  magazine  contains  a  number  of  views 
of  interest  to  Bostonians,  among  them  Har- 
vard College,  the  Boston  State  House,  the 
Hancock  House,  Faneuil  Hall  and  Boston 
Common.  Nearly  all  these  views  were  "  delin- 
eated and  engraved  "  by  S.  Hill,  as  were  also 
several  of  the  portraits. 

Columbian  Magazine.  Three  volumes,  oc- 
tavo. Philadelphia,  1787-1789. 

Franklin  (profile  in  white). 
Greene,  engraved  by  J.  Trenchard. 
Washington,  engraved  by  J.  Trenchard. 
Washington  (profile  in  black). 

Monthly  Military  Repository.  Two  vol- 
umes, o&avo.  New  York,  1796. 

General  Greene  General  Wayne 

General  Washington 

The  Greene  and  Wayne  portraits  are  copies 
76 


APPENDIX 

(except  that  the  ornamental  border  on  the 
Greene  is  omitted,)  of  the  engravings  of  the 
same  generals  in  the  New  York  Magazine. 
The  Greene  and  Washington  are  engraved  by 
Tisdale ;  the  Wayne  by  J.  G.  Warner. 

In  the  copy  of  this  magazine  belonging  to 
the  New  York  Historical  Society  there  are 
three  additional  prints,  viz.,  Sir  Guy  Carleton, 
Charles  Henri  Count  D'Estaing  and  Lord  Vis- 
count Howe,  all  taken  from  prior  publications 
of  Fielding  &  Walker,  London.  Whether 
these  prints  pertain  to  the  book  as  published 
or  were  subsequently  inserted  in  this  particular 
copy  I  am  unable  to  say. 

A  History  of  the  Revolutionary  War  by 
Charles  Smith,  which  appeared  in  the  Monthly 
Military  Repository  in  serial  form,  was  after- 
wards published  separately.  This  history,  like 
the  magazine,  has  become  a  rare  book,  and  is 
much  in  request  on  account  of  the  portraits 
and  a  number  of  plans  and  views  which  it 
contains. 

The  American  Universal   Magazine.     Four 
volumes,  odtavo.     Philadelphia,  1797-1798. 
John  Adams  Wm.  Penn 

Franklin  David  Rittenhouse 

M.  de  Lafayette  Dr.  Benjamin  Rush 

Washington 

77 


APPENDIX 

Literary  Magazine  and  American  Register. 
Eight  volumes,  octavo.  Philadelphia,  1804- 
1808. 

John  Adams  John  Jay 

Benjamin  Franklin          Thomas  Jefferson 
Alexander  Hamilton        George  Washington 

Engravers  of  the  above :  B.  Tanner,  Allar- 
dice,  W.  Hooker  and  Tiebout. 

The  New  Universal  Biographical  Dictionary, 

by   James    Hardie.  Four   volumes,    octavo. 
New  York,  1805. 

John  Adams  Thomas  Jefferson 

Joel  Barlow  James  Madison 

Ann  Eliza  Bleecker  Dr.  S.  L.  Mitchell 

Joseph  Bloomfield  Gen.  William  Moultrie 

Aaron  Burr  William  Penn 

George  Clinton  Rev.  Thomas  F.  Sargent 

Cadwallader  Golden  Edward  Shippen 

Franklin  John  Trumbull 

General  Greene*  Commodore  Truxton 

(Engraved  by  Tisdale)  General  Wayne* 

Alexander  Hamilton  (Engraved  by  Tanner) 

Washington 

Among  the  engravers  employed  by  Hardie 
upon  this  work  we  find  the  names  of  Scoles, 

*The  portraits  of  Greene  and  Wayne  are  evidently  impressions 
from  the  same  plates  that  were  used  ten  years  before  in  the  New  York 
Magazine,  and  show  decided  signs  of  wear. 

78 


APPENDIX 


Tiebout,  Tisdale,  Anderson  and  Rollinson. 
The  portrait  of  Alexander  Hamilton  by  Rol- 
linson, an  oval  in  an  ornamental  border  within  a 
rectangle,  is  perhaps  the  most  desirable  small 
picture  of  Hamilton  that  is  to  be  procured. 


The     Polyanthos. 
Boston,    1806-1807. 
Boston,  1812.     Four 
ton,  1812-1814. 

Samuel  Adams,  Esq. 
Wm.  Bainbridge,  Esq. 
Rev.  J.  Belknap 
Mr.  John  Bernard 
Hon.  James  Bowdoin 
Rev.  Mather  Byles 
Hon.  David  Cobb 
Mr.  T.  A.  Cooper 
Mrs.  Darley 
Mr.  Duff 

Gen.  William  Eaton 
Rev.  Wm.  Emerson 
Mr.  Fennel 
Benjamin  Franklin 
Samuel  Harris 
Hon.  William  Heath 
Captain  Isaac  Hull 
Col.  D.  Humphreys 


Five  volumes,  i6mo. 
Two  volumes,  i6mo. 
volumes,  odavo.  Bos- 

Wm.  Ingalls,  M.D. 

Rev.J.Lathrop,D.D. 

John  Locke 

Suliman  Melimelni 

G.  R.  Minot 

James  Otis 

Rev.  E.  Parrish,  D.D. 

Hon.  J.  Philips,  LL.D. 

Commodore  Preble 

David  Rittenhouse 

Commodore  Rogers 

Hon.  Theodore  Sedgwick 

Mrs.  Stanley 

Rev.  Sam'l  Stillman,  D.D. 

C.  Strong,  Esq.,  LL.D.* 

Rev.  P.  Thacher,  D.D. 

Isaiah  Thomas 

Mr.  Twaits 


*There  are  two  portraits  of  Caleb  Strong. 


79 


APPENDIX 

Gen.  Joseph  Warren  John  Winthrop 
Mr.  Joseph  Walker  General  Wayne 
B.  Waterhouse,  M.D.  Rev.  E.  Wheelock,  D.D. 

I  have  taken  the  foregoing  list  from  Sabin's 
Dictionary  of  Books  relating  to  America,  as  I 
have  been  unable  to  find  a  perfect  copy  of  this 
magazine.  My  own  copy  lacks  one  volume 
and  several  of  the  portraits. 

The  engravings  in  these  eleven  volumes,  es- 
pecially in  the  first  seven,  possess  exceptional 
attractions  for  collectors  of  Revolutionary  and 
Dramatic  prints.  For  the  delectation  of  the 
former  there  are  the  portraits  of  Heath,  War- 
ren, Humphreys  and  Wayne,  and  for  the  latter 
T.  A.  Cooper,  Messrs.  Duff  and  Twaits  and 
Mrs.  Darley,  all  rare  and  important  prints. 

In  October,  1814,  the  "  Polyanthos "  was 
merged  into  The  New  England  Magazine. 

The  Portfolio.  Three  series.  Forty-seven 
volumes,  octavo  and  quarto.  Philadelphia, 
1801-1827. 

Portraits  of  the  Revolutionary  period  only 
included. 

James  Abercrombie        Sir  S.  Auchmuty,  Kt. 
Fisher  Ames  Benj.  S.  Barton, M.D. 

John  Andrews,  D.D.     Comd're.  John  Barry 

80 


APPENDIX 


Capt.  Nicholas  Biddle 
Wm.  Bradford  (lawyer) 
Benjamin  Chew 
Capt.  Richard  Dale 
Oliver  Ellsworth 
Dr.  Franklin 
General  Knox  (2) 
Henry  Laurens 
Philip  Livingston 
John  Marshall 
Gen.  Thomas  Miflin 
James  Monroe 
Bishop  Benj.  Moore 
General  D.  Morgan 


Robert  Morris 
Comd're.  Alex.  Murray 
William  Pinkney 
General  Putnam 
John  Randolph 
James  Ross 
Count  Rumford 
Benjamin  Rush,  M.D. 
Philip  Schuyler 
Edward  Shippen 
Isaac  Smith 
Samuel  S.  Smith 
Gen.  Anthony  Wayne 
Bishop  William  White 


Hugh  Williamson,  M.D.,  LL.D. 

Many  of  these  portraits  were  engraved  by 
Edwin. 

Analectic  Magazine  and  Naval  Chronicle. 
Two  series.  Sixteen  volumes,  oftavo.  Phil- 
adelphia, 1813-1820. 

Revolutionary  portraits  only  included. 

Fisher  Ames  Chief  Justice  Marshall 

Joel  Barlow  Hon.  Theophilus  Parsons 

Alex.  James  Dallas  David  Ramsay,  M.D. 

Rev. Timothy  Dwight  John  Randolph 


Oliver  Ellsworth 
Benjamin  Franklin 
Patrick  Henry 


Benjamin  Rush 

Gen.  Jonathan  Williams 

Caspar  Wistar,  M.D. 


81 


APPENDIX 

The  last  two  volumes  of  this  magazine  are 
ornamented  with  landscapes  which  are  inter- 
esting as  early  examples  of  the  art  of  color 
printing  in  this  country. 

Deleplaine's  Repository.  Three  parts.  Quar- 
to. Philadelphia,  1815-1818. 

Samuel  Adams  John  Jay 

Fisher  Ames  Thomas  Jefferson 

De  Witt  Clinton  Rufus  King 

George  Clinton  Henry  Laurens 

Columbus  Robert  Morris 

Benjamin  Franklin  Peyton  Randolph 

Robert  Fulton  Dr.  Benjamin  Rush 

Alexander  Hamilton  Vespucius 

Francis  Hopkinson  Washington 

A  fourth  part  was  begun,  and  three  plates 
engraved  (Harrison,  Wistar  and  Helmuth), 
when  the  work  was  discontinued. 

Portraits  of  thirty-one  of  the  "  Signers  "   in 
Sanderson's    Biography.       Of  the    remaining 
twenty-five  he  furnishes  no  engravings.     Nine 
volumes,  octavo.    Philadelphia,  1820-1827. 
John  Adams  George  Clymer 

Samuel  Adams  William  Floyd 

Samuel  Chase  Benjamim  Franklin 

Charles     Carroll,    of     Elbridge  Gerry 
Carrollton  John  Hancock 

82 


APPENDIX 


Thomas  Heyward 
Francis  Hopkinson 
Joseph  Hewes 
Thomas  Jefferson 
Richard  Henry  Lee 
Francis  Lewis 
Philip  Livingston 
Thomas  Lynch,  Jr. 
Thomas  McKean 
Arthur  Middleton 
Robert  Morris 


William  Paca 
Robt.  Treat  Paine 
George  Read 
Benjamin  Rush 
Edward  Rutledge 
Roger  Sherman 
Thomas  Stone 
Oliver  Wolcott 
James  Wilson 
John  Witherspoon 
George  Wythe 


LIST  OF  PORTRAITS 

ENGLISH    BOOKS    AND    PERIODICALS    CONTAINING 

PORTRAITS  RELATING  TO  THE  AMERICAN 

REVOLUTION 


ALL  the    magazines   and    histories   which 
follow,  except  Russell's,  are  of  octavo 
size.     Only  the  portraits  which    they  contain 
illustrative  of  the  American  Revolutionary  War 
are  included  in  the  following  tables. 

The  Universal  Magazine.       London,  1747. 
Lord  Amherst  Franklin 

Arnold  Lord  Hood 

Sir  Sam'l  Auchmuty        Earl  Moira 
Cornwallis  William  Pitt 

Charles  James  Fox         Washington  (2) 
The  monument  of  Major  Andre 

The  London  Magazine,  1732. 
Lord  Amherst  Comte  de  Grasse 

Colonel  Barre  Lord  Hillsborough 

Marquis  Cornwallis         Rt.  Hon.  Lord  North 
Hon.  Charles  J.  Fox      Admiral  Hyde  Parker 
Lord  Geo.  Germaine      Tarleton 
84 


APPENDIX 

During  the  years  1774-1776  a  number  or 
caricatures  relating  to  American  politics  were 
published  in  this  magazine.  Two  of  these  cari- 
catures, the  "  Able  Doctor,  or,  America  Swal- 
lowing the  bitter  Draught,"  and  "  The  Mitred 
Minuet,"  and  perhaps  one  other,  were  copied 
by  Paul  Revere  in  the  Royal  American  Maga- 
zine, in  which  they  appeared  a  few  months  after 
their  publication  in  The  London  Magazine. 

The  European  Magazine.     London,  1782. 

John  Adams  Earl  of  Harrington 

General  Arnold  General  Harris 
Mr.  Eden  Ld.  Auck-     John  Hancock 

land  Lord  Howe 

Earl  of  Carlisle  Jefferson 

Cornwallis  Sir  Peter  Parker 

Silas  Deane  Lord  Rawdon 

Dr.  Franklin  Count  Rumford 

Comte  de  Grasse  Comte  de  Vergennes 

Sir  Charles  Grey  Washington 

The  Sentimental  and  Masonic  Magazine. 
Five  volumes.  Dublin,  1792-1794. 

Gen.  Sir  Chas.  Grey     Rt.  Hon.  R.  Earl  Howe 
Earl  of  Moira 

A  copy  of  this  magazine,  said  to  have  come 
from  the  library  at  Mount  Vernon,  and  with 

85 


APPENDIX 

the  autograph  of  George  Washington  on  the 
title-page  of  each  volume,  has  recently  been 
offered  for  sale  in  this  city  at  the  extremely 
modest  price  of  $150  per  volume. 

James  Murray's  History  of  the  Present 
War  in  America.  Three  volumes.  Newcastle- 
upon-Tyne,  1780. 

General  Arnold  Comd're.  Hopkins 

General  Burgoyne  General  Howe 

Admiral  Byron  Lord  Howe 

General  Carleton  Admiral  Keppel 

General  Clinton  General  Lee 

Benjamin  Franklin  General  Montgomery 

General  Gage  Rev.  James  Murray 

General  Gates  Lord  North 

George  III.  Hugh  Earl  Percy 

Lord  Geo.  Germaine  General  Putnam 

General  Grey  Sir  Geo.  Bridges  Rodney 

John  Hancock  General  Sullivan 
General  Washington 

These  prints  are  framed  ovals.  Those  in 
Andrews's  History  which  follow  are  circles 
and  ovals  in  rectangles. 

John  Andrews's  History  of  the  War.  Four 
volumes.  London,  1785-1786. 

General  Burgoyne  Sir  Roger  Curtis 

Sir  Henry  Clinton  De  Crillon 

86 


APPENDIX 

D'Estaing  General  Howe 

De  Grasse  Admiral  Hughes 

De  Suffrein  Admiral  Kempenfelt 

General  Eliot  La  Fayette 

Franklin  Lord  Keppel 

George  III.  Admiral  Parker 

General  Greene  Hugh  Earl  Percy 

Lord  Hood  Lord  Rodney 
Washington 

"The  Senator."     London,  1790-1792. 

Lord  Amherst  Chas.  Earl  Cornwallis 

Sir  Henry  Clinton  Samuel  Lord  Howe 

Lord  Rawdon 

These  portraits  are  plain  ovals. 

William  Russell's  "  History  of  America, 
from  its  discovery  by  Columbus  to  the  conclu- 
sion of  the  late  war."  Two  volumes,  quarto. 
Fifty-one  maps  and  plates.  London,  1788. 

The  first  volume  contains  portraits  of 
Columbus,  Pizarro,  and  of  a  number  of  un- 
important Spanish  Dons.  Volume  II.  contains 
the  following  portraits,  all  of  which  are  ovals 
in  rectangles  within  ornamented  borders. 

Edmund  Burke  Dr.  Franklin 

Earl  of  Chatham  Hugh  Earl  Percy 

Sir  Henry  Clinton  Sir  Walter  Raleigh 

General  George  Washington 

87 


APPENDIX 

Among  the  large  number  of  views  in  this 
book  are  two  of  value,  viz.:  "A  View  of  Que- 
bec from  the  Bason,"  and  a  "  South-west  View 
of  Fort  George  with  the  City  of  New  York." 

Collection  of  portraits  by  Du  Simitiere. 
Engraved  by  B.  Reading.  Quarto.  Pub- 
lished London,  May  10,  1783,  by  W.  Rich- 
ardson. 

General  Arnold  John  Jay 

W.  H.  Drayton  Henry  Laurens 

Silas  Deane  Govenor  Morris* 

J.  Dickinson  General  Reed 

General  Gates  Baron  Steuben 

S.  Huntington  Charles  Thompson 

General  Washington 


MEMORANDUM    NOTE 

Cowley's  History  of  England — a  book  of  the 
same  size  and  probably  contemporary  with 
"Raymond's"  and  "Barnard's"  Histories — 
contains  "  Views  "  and  possibly  a  few  Portraits 
relating  to  our  Revolutionary  War.  My  search 
for  a  copy  of  this  History,  or  even  for  a  cata- 
logue containing  its  title,  has  proved  un- 
availing. 

*Should  be  Gouvcrncur. 
88 


MEZZOTINT  PORTRAITS 


THE  following  list  gives  the  full  titles  of 
the  folio  and  quarto  mezzotint  engrav- 
ings referred  to  on  page  55,  except  the  Wash- 
ington which  is  described  on  page  32  : 

COL.  ARNOLD  who  Commanded  the  Proyincial 
Troops  sent  against  QUEBEC  through  the  Wilderness 
of  Canada  and  was  Wounded  in  Storming  that  City 
under  General  Montgomery. 

London,  published  as  the  A6t  dire&s,  26  March, 
1776,  by  Thomas  Hart. 

Three-quarter  length.     Folio. 

The  Hon.  John  HANCOCK  of  BOSTON  in  NEW 
ENGLAND,  PRESIDENT  of  the  AMERICAN  CONGRESS. 

Done  from  an  original  picture  painted  by  Little- 
ford. 

London,  published  as  the  Aft  dtredts,  25th  O&o- 
ber,  1775,  by  C.  Shepherd. 

Three-quarter  length.     Folio. 

THE  HONORABLE  JOHN  HANCOCK,  etc. 

Same  inscription  as  above  and  issued  by  the  same 

89 


APPENDIX 

publisher,  but  an  entirely  different   picture,  being   a 
bust  in  an  oval.     Folio. 

ADMIRAL  HOPKINS,  Commander  en  chef  de  la 
Flotte  Americaine  des  xiii.  Provinces  unies. 

Se  vend  a  Londrcs  chez  Thomas  Hart. 

Oval  in  square.  Three-quarter  length.  Small 
quarto. 

COMMODORE  HOPKINS,  Commander  in  Chief  of 
the  AMERICAN  FLEET. 

London,  published  as  the  A&  directs,  22d  August, 
1776,  by  Thomas  Hart. 

Three-quarter  length.     Folio. 

THE  HONORABLE  SIR  WILLIAM  HOWE,  Knight 
of  the  Bath  &  Commander  in  Chief  of  His  Majesty's 
Forces  in  America.  London,  published,  as  the  A£l 
directs,  loth  May,  1778,  by  John  Morris. 

Corbutt  del. 

Se  vend  chez  J.  M.  Wille  a  Augsburg. 

Three-quarter  length.     Folio. 

THE  RIGHT  HONORABLE  RICHARD  LORD  HOWE 
Commander  in  Chief  of  His  Majesty's  Fleets  in 
America. 

London,  published  as  the  A£t  directs,  loth  No- 
vember, 1777,  by  John  Morris,  Rathbone  Place, 

Se  vend  chez  J.  M.  Wille  a  Augsburg. 

Oval  in  square.     Three-quarter   length.     Quarto. 

HORATIO  GATES,  ESQ.  Major  General  of  the 
American  Forces. 

90 


APPENDIX 

London,  published  as  the  Aft  direfts,  loth  May, 

1778,  by  John  Morris.  Se  vend  chez  J.  M.  Wille 
a  Augsburg. 

Three-quarter  length.  Folio. 

CHARLES    LEE,    Eso.     Major    General    of  the 
Continental  Army  in  AMERICA. 
Thomlinson  Pinx. 
London,  published  as  the  Aft  direfts,  3ist  October, 

1775,  by  C.  Shepherd. 
Three-quarter  length.     Folio. 

ISRAEL  PUTNAM,  ESQ.,  MAJOR  GENERAL  of  the 
Connefticut  Forces  and  COMMANDER  in  CHIEF  at  the 
Engagement  on  BUNCKER'S  HILL  near  BOSTON,  i7th 
June,  1775. 

J.  Wilkinson  Pinx. 

London,  published  as  the  Aft  directs,  gth  Septem- 
ber, 1775,  by  C.  Shepherd,  London. 

Three-quarter  length.     Folio. 

MAJOR  ROBERT  ROGERS,  Commander  in  Chief  of 
the  INDIANS  in  the  Back  Settlements  of  AMERICA. 
London,  published  as  the  Aft  direfts,  ist  October, 

1776,  by  Thomas  Hart. 
Three-quarter  length.     Folio. 

MAJOR  GENERAL  JOHN  SULLIVAN.  A  distin- 
guished officer  in  the  Continental  Army. 

London,  published  as  the  Aft  direfts,  22nd  August, 
1776,  by  Thomas  Hart. 

Three-quarter  length.     Folio. 

91 


APPENDIX 


DAVID  WOOSTER,  EsQy  Commander  in  Chief  of 
the  Provincial  Army  against  Quebec.* 

London,  published  as  the  Act  directs,  26th  March, 
1776,  by  Thomas  Hart. 

Three-quarter  length.     Folio. 

The  folio  portraits  in  the  foregoing  list,  al- 
though issued  by  different  publishers  and  at 
various  periods,  have  come  to  be  regarded  by 
collectors  as  together  forming  a  series.  They 
are  all  rare  prints,  but  common  compared  with 
the  Samuel  Adams  mezzotint  published  at 
Newport,  R.  I.,  in  1775.  I  have  never  seen 
a  copy  of  this  print,  and  have  to  thank  Z.  T. 
Hollingsworth,  Esq.,  of  Boston,  for  the  fol- 
lowing description: 

MR.  SAMUEL  ADAMS 

When  haughty  North,  impres'd  with  proud  Disdain, 

Spurn  'd  at  the  Virtue,  which  rejects  his  chain, 
Heard  with  a  Tyrant  Scorn  our  Rights  implor'd 

And  when  we  su'd  for  Justice  sent  the  Sword, 
Lo  !     ADAMS  rose  in  Warfare  nobly  try'd, 

His  Country's  Saviour,  Father,  Shield  and  Guide. 
Urg'd  by  her  Wrongs  he  wag'd  ye  glorious  Strife, 

Nor  paus'd  to  waste  a  coward  Thought  on  Life. 

I.  Mitchell,  pinxt.  Sam'l  Okey,  fecit.  Three-quarter 
length.  9/4  *  *3)4  within  plate  marks. 

Printed  by  and  for  Chas.  Reak  &  Sam'l  Okey.  Newport, 
Rhode  Island,  April,  1775. 

*  On  page  55  this  name  appears  erroneously  as  David  Worcester. 
92 


APPENDIX 

This  print  represents  Mr.  Adams  standing 
full  front  before  a  table  covered  with  papers. 
He  points  with  his  left  hand  to  the  papers  and 
holds  in  his  right  a  roll  inscribed  "Instructions 
from  ye  town  of  Boston." 


93 


Page  21. — Thirteenth  line  from  top  of  page 
insert  the  word  to  before  the  words  be  asked. 

Page  65. — Sixth  line  from  foot  of  page  insert 
the  word  Magazine  after  the  word  Columbian. 

Pages  84  and  85. — After  the  dates  affixed  to 
"The     Universal,"      "The    London,"    and 

"The   European"    Magazines,   a should 

have  been  printed  to  signify  the  continuance  of 
these  three  periodicals. 


INDEX 


PAGE 

Ackland,  Lady 51 

Ackland,  Major 52,  55 

Adams,  Samuel.  .25,  27,  64,  92 

Allardice 78 

Allen,  Charles  Dexter 62 

American  Universal  Magazine, 

portraits  in 77 

Amherst,  Lord 53 

Analedtic  Magazine 41 

Analedlic  Magazine,  portraits 

in 81 

Anderson  (engraver) 79 

Andre,  Major  John.  .  .14,  17,  20 
Andre,  Major  John,  portraits 

of 18 

Andrews's  History  of  the  War  24 
Andrews's  History  of  the  War, 

portraits  in 86 

Arnold,  Colonel 55,  89 

Asgill,  Charles 43 

Augsburg  in  Bavaria 9 

Baker,  W.  S 8,  23,  48,  57 

Baltimore,  Lord 1 1 

Barber,  J.  W.,  Antiquities  of 

New  Haven,  Conn 22 

Barlow's  (Joel)  Columbiad..   42 


PAGE 

Barnard's  History  of  England  17 

B.  B.  E.  (Ellis?) 37 

"Bon  Homme  Richard" 

Ship  of  War 45 

Bonnieu 56 

Bookplates  by  Nathaniel  Hurd  62 

Bookplates  by  Paul  Revere. . .  64 
Boston  "  Columbian  Cen- 

tinel  " 7 

Boston  Common 76 

Boston  Massacre 22 

Boston  Massacre,  copies  of.  . .  28 
Boston  Massacre,  inscription 

on  plate  of 29 

Boston  Edition  of  "  Impartial 

History  " 24 

Boston.  Plan  of  the  Town  of  26 

Boston.  State  House 76 

Boston.  View  of  the  Town  of  64 

Boswell,  James 46 

Bowles,  Carrington 20 

Brandt,  Joseph 46 

British  Museum 54 

Brudenell,  Rev.  Mr 52 

Bunker  Hill,  Attack  on  ...  26 

Burgoyne,  General 52 

Buxton,  Charles 57 


95 


INDEX 


PAGE 

Callcnder,  J 64 

Carey,  Matthew 66 

Caricatures.      "  America     in 

Distress  " 63 

Caricatures.    "The  Able  Doc- 
tor"  63,  85 

Caricatures.     "  The     Mitred 

Minuet" 63,  85 

Carleton,  Sir  Guy 44 

Church's    History    of    King 

Philip's  War 5,  6 

Church,  Col.  Benjamin 5,6 

Churchill,  C 5,  6 

Clinton,  Sir  Henry. .  .20,  38,  43 

Coles,  John 22,  23 

Concord,  Battle  of 22 

Columbian  Magazine 23,  65 

Columbian     Magazine,     por- 
traits in 76 

Conference  ( A  )  between  some 
Indian    Chiefs     and    Col. 

Bouquet 64 

Cornwallis,  Surrender  of.  ...    17 

Cornwallis,  Portrait  of 39 

Cowley's  History  of  England.   88 
Cow  Chace,   (The)    Andre's 

poem  of 17,  71 

Cunningham,  Capt.  Wm 14 

Darley,  F.  O.  C 15 

D'Auberteuil,      Essais       His- 

toriques,  etc 40 

Davies,  John 1 1 

D'Estaing,  Comte 38 

De  la  More,  Sir  Wm 8 

Deleplaine's   Repository 41 

Deleplaine's    Repository,   por- 
traits in 82 

De  Neufville  of  Amsterdam . .   47 


PAGE 

Dexter,  Elias 12 

Doolittle,  Amos,   his  prints  of 
the  Battles  of  Lexington  and 

Concord 22 

Doolittle  prints,  Titles  of. ...  72 
Dunlap's,  Wm.,  Arts  of  De- 
sign      32 

Dunlap,  Wm., 49,  59,66 

Duplessis,  Joseph  Siffrein. ...  56 

Dupin  (engraver) 39 

Durand,  Asher  B 10,  66 

Du  Simitiere,  engravings  by.  36 
Du  Simitiere,  list  of  portraits 

by 88 

Duyckinclc,  E.  A 54 

Edwin,  David 48,  64,  68,  81 

Elizabeth,  Queen 12 

Esnauts  et  Rapilly 39 

European  Magazine 24 

European   Magazine,   portraits 

in 85 

Falmouth,   Town   of 26 

Faneuil  Hall,  Boston 76 

Francis,  Mrs 65 

Franklin,    Benjamin, 

I*,  *5»  36»  3»i  4°,  56 
Franklin,  Benjamin,  portrait 

by  Le  Beau 13 

Franklin,  Benjamin,  portrait 

by  Alex.  Tardieu 13 

Franklin,  Benjamin,  pastel  by 

Duplessis 56 

Fraser,  General  Simon 55 

Freeman's  Journal,  Phila. ...  27 
French,  Francis  M.,  his  lines 

on  Nathan  Hale 1 6 

Fulton,  Robert 42 


96 


INDEX 


PAGE 

Gage,   General 64 

Gates,  General, 

25»  38»  39.  43>  52»  55,  9° 

Gerry,    Elbridge 43 

Grataloup,  J.  B 39 

Greene,  General, 

27,  36»  39.  44,  47 
Green,  Valentine  (Engraver)  47 

Girdlestone,  Thomas 35 

Gosselin's,  Edward,  reproduc- 
tions of  fine  French  prints 

^ 38 

Gridley,  E.  G 23 

Guillim's    (John)    Display    of 
Heraldry 8 

Hale,  Captain  Nathan. ...  14,  16 
Hamilton,  Alexander  . . .  .43,  79 

Hamlin,  William 48,  66 

Hancock,  John, 

25,  36»  38,  39.  4°,  55,  64,  89 

Hancock   (The)  House 76 

Hardy,  Sir  Charles 39 

Hardie's   (James)     Biographi- 
cal Dictionary 41 

Hardie's  (James)  Biographical 

Dictionary,  portraits  in. ...  78 

Harris,  Samuel 67 

Harvard  College 76 

Harvard  Lyceum 67 

Heath,  James 66 

Hedden,  Edward  L 58 

Hill,  S 76 

Hogarth 10 

Hollingsworth,  Z.  T 92 

Hooker,  W.  (engraver) 78 

Hopkins,  Commodore, 

25,  26>  36,  39,  55,  9° 
Houbraken,  J 20 


PAGE 

Houdon,  Jean  Antoine 56 

Howe,  Richard  Lord, 

20,  z6,  36,  55,  90 
Howe,  Sir  William, 

36,  55,  7*>  9° 
Kurd,  Nathaniel 62 

Impartial  (The)  History, 

22,  24,  26 
Indian  (An)  Gazette 64 

Jarvis,  John  Wesley 48 

Jay,  John 59,  60 

Jennys,  Richard,  Jr 62 

Jones,  John  Paul 39,  45 

Kay,     John,    Caricature    por- 
traits by 42 

Knox,  General. .  .25,  27,  49,   51 
Knox,    General,    portrait    by 
Savage 49 

Lafayette 14,  43,  54,  56 

Laurens,  Henry 47 

Lawrence,  Sir  Thomas 51 

Lee,  General  Charles, 

25»  35,  36»  39,  55,  9' 

Lee,  portrait  by  Probst 34 

Lefferts,  Marshall  C 42 

Lenox  Library 22 

Lexington,  Battle  of 22 

Literary  Magazine,  portraits  in  78 

Livingston,  Brockholst 44 

Lloyd,  Lieutenant 53 

London  Edition  of  "  Impartial 

History  " 24 

London  Magazine 24 

London  Magazine,  portraits  in  84 
Lottery  Magazine 24 


97 


INDEX 


Marshall   (William),  English 
engraver  of  the  seventeenth 

century 23 

Marshall,  William  Edgar  (en- 
graver)    6 1 

Magazines,  American  and  Eng- 
lish, containing  Revolution- 

arg  portraits 23 

Massachusetts  Magazine 24 

Massachusetts  Magazine,  por- 
traits in 76 

Maverick,  Peter 66 

Mayhew,  D.D.,  Jonathan  .  . .  62 

Meschianza,  The 18,  71 

Mezzotint   Portraits,    List    of  55 

Mitchell,  Honorable  James  T.  8 

Montgomery,  General.. .  .25,  26 

Mondhare  (publisher) 39 

Montcalm,  Marquis  de 38 

Monthly   Military  Repository  24 
Monthly  Military  Repository, 

portraits  in 76 

Moore,  Dr.  George  H 35 

Morrell,  T.  H 67 

Murray's  History  of  the  War  24 
Murray's  History  of  the  War, 

portraits  in 86 

National  Portrait  Gallery. .  3,  41 

Neagle,  John 65 

New  England  Magazine 80 

New  York  Magazine 23,  65 

New  York  Magazine,  portraits 

in 75 

New  York,  Southwest  View  of 
Fort   George  with  the  City 

of. 88 

Norman,  J.,  portraits  of  Gen- 
eral and   Mrs.    Washington  21 


PAGE 

Norman,   J.,   portraits  by,  in 
American     edition  of    the 
"  Impartial  History  "  . .  .  .    25 
North  America,  Map  of 26 

Palmer,  Lieutenant 18 

Passe,  Simon 10 

Peale,  C.  W 38,  47 

Penn,  William 1 1 

Percy,  Hugh,  Earl  of 47 

Philip,  King  of  Mount 

Hope 6,  7 

Philadelphia.  State  House  at  48 

Pickering,  Timothy 44 

Pierson,  Capt 45 

Pitt,  William 40 

Political  Magazine 24 

Pollard,  Robt 52 

Polyanthos,  The 41,  67 

Polyanthos,  The,  portraits  in  79 

Portfolio,  The 41 

Portfolio,  The,  portraits  in ...  80 
Prevost,  B.  L.  (engraver).  . .  36 
Putnam,  General. .  18,  25,  55,  91 
Putnam,  General,  portrait  by 

Probst 34 

Quebec 88 

Raleigh,  Sir  Walter 1 1 

Raymond's    History    of  Eng- 
land     17 

Reed,  A 68 

Red  Jacket 46 

Reed,  Col.  Joseph 32 

Revere,  Paul:  .  .  5,  9,  22,  63,  75 

Reynolds,  Sir  Joshua 53,  54 

Reynolds,  S.  W 53 

Richardson,   W.  (publisher)..    37 


98 


INDEX 


PAGE 

Ritchie,  A.  H.  (engraver).  15,  35 

Rivington,  James 71 

Rivington,  James,   his  "Ga- 
zette"   17,  71 

Rochambeau,  Comte  de. . .  38,  39 

Rodney,  Lord 39 

Rogers,  Major  Robt.  .36,  55,  91 

Rollinson,  Wm 51,  79 

Royal  American  Magazine, 

*3»  63>  64 
Royal  American  Magazine, 

portraits  in 75 

Rushbrooke,  B 35 

Russell's  History  of  the  War.  24 
Russell's  History  of  the  War, 

portraits  in 87 

Sabin's,  J.  F.,  "  Dictionary  ".80 
Sanderson's  Biography  of  the 

Signers 41 

Sanderson's    Biography,     por- 
traits in 82 

Savage,  Edward 38,48 

Sentimental  and  Masonic  Mag- 
azine, portraits  in 85 

Senator  (The)  Magazine,  por- 
traits in 87 

"Serapis,"   Ship  of  War 45 

Scoles,  I.  (engraver) 49,  65 

Sewall,  Rev.  Dr 62 

Shannon,  James 72 

Shepherd,  C.   (publisher) 32 

Smith,   Chas.,  History  of  the 

Revolutionary  War 77 

Smith,  J.  R.  (engraver) 68 

Smith,  Captain  John,  portrait 

of 1° 

Smith's,  Captain  John,  Map  of 
New  England i° 


PAGE 

Snyder  (engraver) 68 

Society  (The)  Library 51 

St.     Memin's     Collection    of 

Portraits 40 

Stuart,  Gilbert 59,  65 

Sullivan,  General. . .  .36,  55,  91 

Tanner,  B.  (engraver). .  .  .66,  78 

Tarleton,  Colonel 53,  54 

Tiebout  and  O'Brien 50 

Tiebout,  Cornelius 56 

Tisdale  (engraver) 79 

Trenchard,  J.  (engraver).    65,  76 

Troost,  Cornelius 20 

Trumbull,  Colonel. .  .  .4,  38,  47 
Tryon,  Governor  Wm 18 

Universal  Magazine  (English).  24 
Universal  Magazine,  portraits 
in 84 

Valentine,  D.  T 7* 

Valentine's  Manuals 21,  71 

Vergennes,  Comte  de 38,  43 

Warner,  J.  G.  (engraver)  ...  77 

Warren,  General 25,  26 

Wayne,  General 3,  4,  25 

Washington,  12,  22,  24,  25,  32, 
36,  38,  5i»  55.  56,  57 
Washington,  portrait  of,  in 

Roman  Dress 8 

Washington,  "  Pater  Patriae  " 

portrait  of 23 

Washington,  portrait  engraved 

by  Brunton 3 l 

Washington,  portrait  painted 

by  Alex.  Campbell 32 


99 


INDEX 


PACT 

Washington,   portrait   painted 

by  C.  W.  Peale 47 

Washington,  portrait  engraved 

by  Pruneau 31 

Washington,  portrait  engraved 

by  Savage 48 

Washington,  portrait  painted 

by  Trumbull 40,  47 

Washington,  Colored  portraits 

of 33 

Washington,  Mrs. 21 

Westminster  Magazine 24 


PAGE 

Wharton  House,  Philadelphia  71 
Winckler,    J.   B.,  engraving 

by ao 

Wilkinson,  R 37 

Wooster,  General. ..  .25,  55,  92 

Willis,  Samuel  J 71 

Winterbotham's  "America  ".  49 

Worthington,  Mrs.    Chas.   C.  58 

Wright,  Joseph 38 


York,  Duke  of II 


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